ICSE Class 10 Performing Arts Syllabus CLASS X The syllabus is divided into three sections: Lakshangeet and Swarmalika in the other two Section A - Vocal Music ragas, One Badakhayal in any one of the above- Section B - Instrumental Music mentioned ragas (Only sthai and antara); Tarana Section C - Tabla. (notation of Tarana is not required). 3. Padhant (Reciting)-Thekas of the following new PART 1: THEORY – 100 Marks taals as also those learnt in Class IX in Dugun SECTION A: HINDUSTANI VOCAL MUSIC and Chaugun, showing Tali, Khali and Matras on hands: Rupak, Jhaptaal, Tilwada, Dhamar and 1. (a) Non-detail terms: Sound (Dhwani), Meend, Deepchandi (Chanchar). Kan (Sparsha swar), Gamak, Khatka, Tigun, 4. Identification of ragas learnt in Classes IX and X. Tappa, Thumri, Poorvang, Uttarang, Poorva Raga and Uttar Raga. SECTION B (b) Detailed topics: Nad, three qualities of Nad (volume, pitch, timbre); Shruti and placement HINDUSTANI INSTRUMENTAL MUSIC of 12 swaras; Dhrupad and Dhamar; (EXCLUDING TABLA) relationship between Vadi Swar and time of THEORY singing raga. 2. Description of the 10 ragas of Classes IX and X 1. (a) Non-detail terms: Sound (Dhwani); Kan; mentioned under ‘practical’ – their Thaat, Jati, Meend, Soot; Zamzama; Gamak; Baj; Vadi-Samvadi, Swaras (Varjit and Vikrit), Khatka; Jhala; Tigun. Aroha-Avaroha, Pakad, time of raga and similar (b) Detailed topics: Nad; three qualities of Nad raga. (volume, pitch, timbre); Shruti and placement 3. Writing in the Taal notation, all the 10 Taals of 12 swaras; Maseetkhani and Razakhani learnt in Classes IX and X, their Dugun; Tigun Gat; Relationship between Vadi Swar and and Chaugun. time of playing Raga. 4. Knowledge of musical notation system of Pt. 2. Origin and the development of the instrument. V.N. Bhatkhande (swara and Taal-lipi); writing Methods of handling instruments; tuning of the ChotaKhayal, BadaKhayal, Swarmalika and instrument with a labelled diagram. Lakshangeet. 3. Complete description of all the 10 ragas 5. Identification of Ragas of Classes IX and X (a mentioned under ‘Practical’ in Classes IX and X. few note combinations given). 4. Writing in the Tal notation, all the 10 Taals learnt 6. Life and contribution in brief of Amir Khusro in Classes IX and X, their Dugun; Tigun and and Pt. Digambar Paluskar. Chaugun. 7. A brief description of 4 eminent vocalists 5. Writing in complete musical notation of the (present or recent past). Maseetkhani and Razakhani Gats. 8. Names of different parts (components) of the 6. Identification of Ragas (a few note combinations Tanpura with the help of a simple sketch. Tuning given) of Classes IX and X. and handling of the instrument. 7. Life and contribution in brief of Amir Khusro and Pt. Vishnu Digambar Paluskar. PRACTICAL 8. Brief description of four eminent instrumentalists 1. Singing of three alankars in Teental, Jhaptaal and (present or recent past). Dadra each. 2. Bhairav, Bhopaali, Desh, Bageshwari, Malkauns - Singing of Chotakhayal song in any three ragas as mentioned above (with alaaps and taans).

183 PRACTICAL Rela, 1 Chakardaar Tukda, 1 Damdar and Bedam Tihai, Roopak – 1 Tihai, Sooltaal – 1 Tihai, 1. Playing of three alankars in Teental, Jhaptaal and Teevra Taal – 1 Paran, Deepchandi Taal, Tilwada Dadra each. Taal (only Theka). 2. Bhairav, Bhopaali, Desh, Bageshwari, Malkauns 3. Padhant (Reciting)- Thekas of all Taals of Class – Playing of five Razakhani Gat in all the above IX and X with development mentioned in para five mentioned Ragas and one Maseetkhani Gat (2), giving Tali, Khali etc. by hands in Dugun in any one of the five ragas as mentioned above and Chaugun. (with alaaps, toda and jhala). Dhun (notation of 4. Ability to accompany with vocalist and Dhun is not required). instrumentalist with development. 3. Padhant (Reciting)-Thekas of the following new taals as also those learnt in Class IX in Dugun PART 2: (To be assessed internally by the School in and Chaugun, showing Tali, Khali and Matras on Class X). hands: Rupak,Jhaptal, Tilwada, Dhamar and Practical Work in Music (Hindustani) - 100 Deepchandi (Chanchar). Marks 4. Identification of ragas learnt in Classes IX and X. Course Work SECTION C 1. Candidates will be required to practice and HINDUSTANI INSTRUMENTAL MUSIC perform singing or playing. This performance may be undertaken in connection with the topics (PERCUSSION - TABLA) suggested below. The practical work of THEORY candidates will be assessed by the teacher as 1. (a) Non-detail terms: Names of 10 Pranas, course work. The teacher is free to assess the AadiLaya (Only in Dadra and Keharwa), course work either on the basis of continuous Lehra (Nagma), Paran, Uthan, Chakkardar assessment or on the basis of periodical tests. Tukda, Dumdar and Bedum Tihai, Gat, 2. Suggested topics for practical work: Padhant, (i) Individual performances, (b) Detailed topics: Origin and development of (ii) Practice for school functions, Tabla, Basic 10 Varnas (Syllables) of Tabla, (iii)Performance in a group of either players or Taal Jaati System, Solo and Sangat. singers, not necessarily in school, 2. Brief description of four eminent percussionist (iv)Prepare a Power Point presentation on an (present or recent past). eminent vocalist or instrumentalist. 3. Writing in Taal notation, Thekas, in Thah, (v) A visit to a sound recording studio. Dugun, Tigun and Chaugun, of all Taals learnt in 3. In addition to the course work the candidates will Class IX and X. be tested in singing or playing one instrument by 4. Names of different parts (components) of the an External Examiner. Tabla with the help of a simple sketch. Tuning of Assessment the instrument. 1. The teacher and the External Examiner will 5. Identification of Taals (a few bol combinations assess the practice and performance of given) of Classes IX and X. candidates.

2. The following aspects of practice and PRACTICAL performance should be taken into consideration: 1. Technique of producing bols on Tabla like Tirkit, (i) Musical performance, Expression, Diction, Kran, etc. Tonal quality, Breath control; 2. Development of following Taals: Teental – 1 (ii) Accuracy; uthan, 2 new kaydas and its 4 paltas with tihai, 1 (iii)Style and interpretation. 184

3. The External Examiner may be a teacher The Internal Examiner and the External Examiner nominated by the Head of the school, who could will assess the assignments independently. be from the faculty, but not teaching the Award of Marks (100 Marks) subject in the section/class. For example, a Subject Teacher (Internal Examiner) 50 marks teacher of Music of Class VIII may be deputed to External Examiner 50 marks be an External Examiner for Class X, Music Projects. The total marks obtained out of 100 are to be sent to the Council by the Head of the school. The Head of the school will be responsible for the online entry of marks on the Council’s CAREERS portal by the due date.

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

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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 Un inspiring, 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 ''. 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 raga 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.

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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) Symphony The syllabus is divided into two Sections: Definition, structure (form), Sonata Form; Analysis of any one symphony of the Section A - Musical Instruments candidate’s choice. (* format for analysis Section B - Forms and Analysis of Music for symphony given at the end of the syllabus.) Candidates will be required to attempt nine questions in all, five questions from Section A all of (b) Concerto which are compulsory and any four questions from Definition, structure (form); Analysis of any Section B. one Concerto (of the Classical or Romantic period) of the candidate’s choice (** format SECTION A: MUSICAL INSTRUMENTS for analysis for Concerto given at the end of 1. Musical Instruments: Sound production and the syllabus.) playing techniques of the following families of (c) Jazz instruments: Origin, characteristics, instrumentation, (a) Keyboard family: Genres of Jazz: New Orleans, Swing, Bebop. Harpsichord, clavichord and acoustic pianoforte. (d) Popular Music (b) Pipe Organ Life, works, style and reasons for popular appeal of any solo artiste (vocal or (c) The String family: instrumental) and / or band of the Violin, Viola, Violoncello, Double Bass. candidate’s choice. Genres of music may (d) The Guitar family: include but are not limited to: Classical, Spanish, Hawaiian guitars. Folk, Country, Gospel, Soul, Reggae, Pop, (e) Woodwind family: Rock, R&B, Hip Hop, Electronic Music. Flute, Piccolo, Oboe, Clarinet, Cor Anglais, Bassoon, Saxophone. 3. Life and Works (f) Brass Family: (a) Life and works and unique contribution of the Trumpet, French Horn, Trombone, Tuba. following composers: (g) Percussion family J.S Bach, G.F Handel, J. Haydn, W.A Timpani (Kettle Drums), Bass Drum, Snare Mozart, L.van Beethoven, F. Schubert, P.I Drum, Tambourine, Tubular Bells, Tchaikovsky, J. Brahms, A. Dvořák. Xylophone, Glockenspiel. (b) Life, works and style of the following Note: exponents of Jazz; Louis Armstrong, Duke • Candidates are expected to know the tuning Ellington, George Gershwin, Miles Davis. notes and clefs of the following: The String family and The Guitar family. They will be Note: expected to be able to write these on staff Candidates are expected to write an essay of notation, beginning with the lowest in pitch. approximately 500 words on the life, works and They are expected to know the range of any one contribution of the composer/s and/or exponents woodwind and any one brass instrument of their mentioned above. choice. • Any TWO Similarities and TWO differences between members of the same family, for example e.g.: oboe & clarinet; flute & piccolo, trombone & tuba, etc.

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4. Technology in Music PART 2: PRACTICAL WORK IN MUSIC (a) Electronic Music (WESTERN) Definition and scope of Electronic Music; - 100 Marks description of the Theremin and the Moog Synthesizer. Candidates for the examination in Music (Western) will be required to have passed the Practical (b) Basic knowledge of the following genres Examination of the Associated Board of Royal Industrial, House Music, Drum & Bass, School of Music, Grade 4, or a more advanced Dubstep, Electro House. grade or Grade 4 or a more advanced Grade of (c) DAW (Digital Audio Workstation) Trinity College, London or Grade 4 or a more (i) Definition, basic features and advanced grade of London College of Music (or an applications of any one Home Studio equivalent examination approved by the Council). DAW of the candidate’s choice. Course Work (ii) Definition and usage in a DAW of the The Practical work of candidates in Western Music following: audio samples, loops, live in preparation for the practical examination of: audio, plug-ins and Timeline. • The Associated Board of Royal School of (iii) Applications of DAWs in Electronic Music: Grade 4, or a more advanced grade, Music, DJ music and new directions in or music. • Trinity College, London: Grade 4 or a more 5. Personal Experience advanced grade, Candidates should be able to write an essay or (approximately 500 words) about their personal • London College of Music: Grade 4 or a more experiences as a musician in any one of the advanced grade following areas: (or an equivalent examination approved by the (a) As a solo singer or instrumentalist. Council), will be taken as the requirement for (b) Member of the school choir or orchestra. course work in Western Music. (c) Part of a school Musical Theatre or any other Final Test production. The practical examination of the Associated Board Note: The topics should be interpreted as widely as of Royal School of Music, Grade 4, or a more possible. Candidates should listen to a variety of advanced grade, or Grade 4 or a more advanced music within the category title. In answering Grade of Trinity College, London, Grade 4 or a questions, which require paragraph answers, more advanced grade of London College of candidates should refer knowledgeably and by Music (or an equivalent examination approved by name, to the works to which they have listened. the Council), will be taken in fulfillment of the final Questions will be framed so as to give all candidates test for practical work in Western Music. a chance to show the following: (i) that they have Assessment heard works in a given category; (ii) that they know The result of the practical examination issued by the the characteristics of a particular category or kind of Associated Board of Royal School of Music, Grade music; (iii) that they are aware of the context of a 4, or a more advanced grade, or Grade 4 or a more particular category or kind of music; (iv) that they advanced grade of Trinity College, London, Grade 4 know the names of prominent composers and their or a more advanced grade of London College of contribution to a particular category or kind of Music (or an equivalent examination approved by music. the Council) will be taken as the assessment of Part 2 of Western Music.

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* TEMPLATE FOR ANALYSIS OF First movement: key, time signature, tempo SYMPHONY direction - Name of the Symphony Description of melodic and harmonic progression, - Key key modulations, role of solo instrument, cadenza - Composer (if used), and Sonata Form (if used). Note: the - Instruments used cadenza format should be defined. First movement: key, time signature, tempo Second Movement: key, time signature, tempo direction direction Exposition: both themes, closing theme/coda. Brief Description of melodic and harmonic progression, description of motifs, important modulations and melody/harmony/rhythm. key modulations, role of solo instrument.

Development: modulations and treatment of themes Third Movement: key, time signature, tempo Recapitulation: Keys used, second subject remains direction in tonic key, bridging passage, closing theme. Description of melodic and harmonic progression, Second movement: key, time signature, tempo key modulations, role of solo instrument, cadenza direction (if used), and Sonata Form (if used). Instrumentation used Themes, motifs, all important points of harmony, Suggested Readings: melody and orchestration - The Encyclopedia of Music: Max Wade- Third & Fourth movements (the symphony may Mathews & Wendy Thompson have less than three or more than four movements) - The Enjoyment of Music: published by W.W. as given in the above movements. All symphonic Norton & Co. forms such as Sonata Form, Theme and Variations, - The History of Music; From the Cambridge Minuet and Trio, Scherzo, Sonata-Rondo, where assignments in Music: Roy Bennett applicable, must be described clearly. - The Harvard Dictionary of Music: Don Michael Randel. ** TEMPLATE FOR ANALYSIS OF - The Oxford Dictionary of Music: Michael & CONCERTO Joyce Kennedy & Tim Rutherford - Johnson. - Definition, origin - Name of the Concerto

- Key - Composer - Instruments and solo instruments used

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INDIAN DANCE (94) CLASSES IX AND X

There will be one paper of two hours duration PART 2: To be assessed internally by the School. carrying 100 marks and Internal Assessment of Practical Work in Indian Dance - 100 Marks 100 marks. Course Work Candidates will be required to select one dance The practical section is divided into two parts: style from the following: , , 1) Nritya , , Manipuri and . The 2) Abhinaya course work and assessment for the Internal Assessment shall focus solely on the dance style 1. Nritya selected by the candidate. An overview of classical (i) The basic body stances and positions, the dance in India may be required, along with simple neck and eye movements of the chosen comparative studies between the different dance dance style. styles, for the written Theory paper. (ii) A minimum of 15 steps in Nritya to be PART 1: Theory – (100 Marks) executed in the 3 speeds of slow, medium and fast. Candidates will be required to attempt five (iii) An understanding of the different rhythms questions out of eight questions. (Tal) and the ability to perform a particular 1. Identification of different classical dance styles Tal in a passage of dance. in India. The aesthetic appeal of each, (iv) Recitation of the Bols (syllables) and the highlighting the distinctiveness of the ability to present the spoken syllables in individual styles, namely Bharatanatyam, dance. Kathak, Odissi, Kuchipudi, Manipuri and (v) Individual presentation of a short Nritya Kathakali. item. 2. The mythological evolution of dance and an elementary understanding of important texts 2. Abhinaya like the Natya , and story lines (i) Knowledge of the Asamyuta (single hand associated with classical dance in India. Also, gestures) and Samyuta (double hand an appreciation of the myths surrounding the gestures) used in Abhinaya. lives of Ganesh, Krishna, , Vishnu, etc. (ii) The Hastas (, Vishnu, Shiva, 3. The sociological development of dance – its Krishna, Ganesh, etc.) with their attributes. history, roots, growth and revival. (iii) The DasavatarHastas (gestures depicting the 10 avatars of Vishnu). 4. An understanding of the guru- (iv) A basic knowledge of the Nava Rasas (nine shishyaparampara (including the tradition and emotions) used in dance, namely: lineage associated with the chosen dance form (a) Shringar – love only). (b) Hasya – mirth 5. Prominent exponents of the various different (c) Karuna – classical dance styles listed above. (d) Roudra – anger 6. An understanding of the dance repertoire and (e) Veera – strength musical accompaniment (for the chosen dance (f) Bhayanaka – fear style only). (g) Bhibatsa – disgust 7. The relevance of dance in today’s world and (h) Adbuta – wonder the modern developments in dance. (i) Shantam – peace (v) Individual presentation of a short item of Abhinaya.

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Assessment The Internal Examiner and the External Examiner 1. The teacher and the External Examiner will will assess the assignments independently. assess the practice and performance of Award of Marks (100 Marks) candidates. Subject Teacher (Internal Examiner) 50 marks 2. The External Examiner may be a teacher External Examiner 50 marks nominated by the Head of the school, who The total marks obtained out of 100 are to be sent could be from the faculty, but not teaching the to the Council by the Head of the school. subject in the section/class. For example, a The Head of the school will be responsible for the teacher of Indian Dance of Class VIII may be online entry of marks on the Council’s CAREERS deputed to be an External Examiner for Class portal by the due date. X, Indian Dance Projects.

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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

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DRAMA (95) CLASSES IX AND X There will be one paper of two hours duration pieces as examples, which may include carrying 100 marks and Internal Assessment of Pygmalion, Galileo, A Doll’s House, Antigone 100 marks. and improvise. PART 1: THEORY – (100 Marks) SECTION B The syllabus is divided into two Sections: Four questions shall be set in this Section. Section A – Drama as Art Candidates will be expected to have working Section B – Technical aspects of Drama knowledge of the technical skills used by directors, Candidates will be required to attempt five questions actors, and designers (sets, costumes, make-up, in all, three questions from Section A and two lighting and sound). Questions will be set using questions from Section B. resource material as a basis for technical design – SECTION A candidates will be permitted to use sketches, notes Six questions shall be set in this Section. Candidates and diagrams as part of their answers. will be required to evaluate and analyse material as Candidates will be expected to have an appreciation part of a drama process. Resource material would be of the following elements: provided in each question in the form of extracted 1. Use of the stage and emphasis through set design, pieces from plays, themes, situations or printed visual positions, compositions and movement; Blocking sequences. The resource materials are expected to and its relation to the composition. form stimuli that would be used by candidates to answer the question. Answers can be in the form of a 2. The production process; Rehearsals. written commentary and may be accompanied by 3. Equipment - from auditorium to backstage; Sets sketches, diagrams and notes as required. Candidates (including parts of stage equipment used in a would be permitted to creatively add dialogue to the set); Properties. stimuli provided for each question. 4. Lighting and sound – equipment and design. Candidates will be expected to have an appreciation 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. 7. Different types of staging (as given in Section A) and their effect on technical aspects of a 3. The actor – basic technique (Stage positions; production. Body positions used by actors - in relation to the audience and to other actors; Turns and gestures; PART 2: To be assessed internally by the School. Movement and approaches; Entering and exiting; Handling of properties), body, voice and role. Practical Work in Drama - 100 Marks 4. The stage – its various parts and different types Course Work of staging (proscenium arch theatre, central The practical section is divided into two parts - staging, street theatre, folk theatre, puppetry). Acting and Stagecraft – both of which must be 5. Composition, picturisation, movement, rhythm, studied by 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 196

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

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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

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