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A) Indian Music (Hindustani) (872

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A) Indian Music (Hindustani) (872 MUSIC One of the three following syllabuses may be offered: (A) Indian Music (Hindustani) (872). (B) Indian Music (Carnatic) (873). (C) Western Music (874). (A) INDIAN MUSIC (HINDUSTANI) (872) (May not be taken with Western Music or Carnatic Music) CLASS XII The Syllabus is divided into three parts: PAPER 2: PRACTICAL (30 Marks) Part 1 (Vocal), The practical work is to be evaluated by the teacher and a Visiting Practical Examiner appointed locally Part 2 (Instrumental) and and approved by the Council. Part 3 (Tabla) EVALUATION: Candidates will be required to offer one of the parts Marks will be distributed as follows: of the syllabus. • Practical Examination: 20 Marks There will be two papers: • Evaluation by Visiting Practical 5 Marks Paper 1: Theory 3 hours ….. 70 marks Examiner: Paper 2: Practical ….. 30 marks. (General impression of total performance in the Candidates will be required to appear for both the Practical Examination: accuracy of Shruti and papers from one part only. Laya, confidence, posture, tonal quality and expression) PAPER 1: THEORY (70 Marks) • Evaluation by the Teacher: 5 Marks In the Theory paper candidates will be required to (of work done by the candidate during the year). attempt five questions in all, two questions from Section A (General) and EITHER three questions from Section B (Vocal or Instrumental) OR three questions from Section C (Tabla). 1 PART I: VOCAL MUSIC PAPER 1: THEORY (70 Marks) 7. Raga (i) Bihag, Bageshwari, Kafi, Bhairavi. 1. Musical Terms and Forms (ii) Identification of Raga by written note- (i) Naad combination. Meaning, origin and qualities (Volume, (iii) Comparison and contrast between above Pitch, and Timbre). mentioned Raga. (ii) Raga Complete theory of the above mentioned Ragas with special reference to their Swar, Type of Raga: Poorva, Uttar, Sandi-Prakash Thaat, Jaati, Aaroh, Avaroh, Pakad, Vadi, (Meaning with examples). Samvadi, Anuvadi, Vivadi, Varjya, Vikrit, (iii) Meend, Andolan, Gamak, Kan, Alaap, Taan. Samprakriti Raga and singing/playing time. Meaning, uses with examples wherever 8. Notation of Taal applicable. Ektaal, Roopak, Chartaal. 2. Systems of Indian Classical Music The above Talas with their Thekas, Tali, Khali, Vibhag in Thah, Dugun, Tigun and Chaugun The two systems of Indian Classical Music. Laya. Hindustani and Carnatic Music – comparative study with reference to technique of usage, Swar, 9. Notation of Bandish (Chhota Khayal) Taal, composition, instruments used and Sthai and antara with the mention of the name of language. the raga (with its aaroh, avaroh) and taal with clear indication of Swar and Taal signs. 3. Placement of Swaras on twenty-two Shrutis Ancient and modern methods of placement of 10. Classification of Indian Musical Instruments seven Swaras amongst Shrutis. Tat -Vitat, Sushir, Avnada, Ghan. Explanation with examples. 4. “Thaats” of Bhatkhande Ten Thaats with name, swar, signs and basic 11. Eminent Musicians of Hindustani Music rules. The following musicians to be studied: Pt. Ravi Shankar, Pt. Bhimsen Joshi. 5. Vadi Swar and time of Raga Life sketch, work and achievements of the above. Relationship between Vadi Swar and time of raga, Purvang- Uttarang of day and Saptak. 12. Topics of general interest related to Music Essay type questions of about 200 words will be 6. Laya asked. Definition of Laya and its types: Vilambit, 13. Brief History and knowledge of Tanpura Madhya and Drut. Drawing and labelling with description and tuning. 2 PAPER 2: PRACTICAL (30 Marks) 2. Identification of all the Ragas by listening to their The practical work is to be assessed by the teacher Alaap. and a Visiting Examiner appointed locally and 3. Singing of Ten Alankars in Shudh Swar. approved by the Council. 4. Recitation of the following Talas in Dugun and 1. Demonstration of the following Raga by singing Chaugun Laya: "Chota Khayal" with Alap, and five Taans: (i) Chaartaal (ii) Ektaal (iii) Roopak (i) Bihag (ii) Bageshwari (iii) Kafi (iv) Bhairvi. PART 2: INSTRUMENTAL MUSIC PAPER 1: THEORY (70 Marks) 3. Placement of Swaras on twenty-two Shrutis Ancient and modern methods of placement of 1. Musical Terms and Forms seven Swaras amongst Shrutis. (i) Naad 4. “Thaats” of Bhatkhande Meaning, origin and qualities (Volume, Pitch, and Timbre). Ten Thaats with name, swar, signs and basic rules. (ii) Raga Type of Raga: Poorva, Uttar, Sandi Prakash 5. Vadi Swar and time of Raga (Meaning with examples). Relationship between Vadi Swar and time of raga; Purvang-Uttarang of day and Saptak. (iii) Forms of composition: Razakhani/Dhrut Gat Origin, development and characteristics to 6. Laya be done in detail. Definition of Laya and its types: Vilambit, (iv)Meend, Ghaseet, Soot, Andolan, Gamak, Madhya and Drut. Kan, Alaap, and Jod-Alap. 7. Raga Meaning, uses with examples, wherever (i) Bihag, Bageshwari, Kafi, Bhairavi applicable. (ii) Identification of Raga by written note- 2. Systems of Indian Classical Music combination The Two systems of Indian Classical Music. (iii)Comparison and contrast between above mentioned Raga. Hindustani and Carnatic Music – comparative study with reference to technique of usage, Swar, Complete theory of the above mentioned Ragas with special reference to their Swar, Thaat, Jaati, Taal, composition, instruments used and Aaroh, Avaroh, Pakad, Vadi, Samvadi, Anuvadi, language. Vivadi, Varjya, Vikrit, Samprakriti Raga and singing/playing time. 3 8. Notation of Talas 12. Topics of general interest related to Music. Ektaal, Roopak, Chartaal Essay type questions of about 200 words will be The above Taal with their Thekas, Tali, Khali, asked. Vibhag in Thah, Dugun, Tigun and Chaugun Laya. 13. Brief History and knowledge of your instrument 9. Notation of Bandish (Razakhani) Drawing and labelling with description and Sthai and antara with the mention of the name of tuning. the raga (with its aaroh, avaroh) and taal with clear indication of Swar and Taal signs and bols PAPER 2: PRACTICAL (30 Marks) of Gat. The practical work is to be assessed by the teacher and a Visiting Examiner appointed locally and 10. Classification of Indian Musical Instruments approved by the Council. Tat -Vitat, Sushir, Avnada, Ghan. 1. Demonstration of the following Ragas by playing Explanation of the above with examples. Razakhani/Drut Gat with five Todas and Jhala: (i) Bihag (ii) Bageshwari (iii) Kafi (iv) Bhairavi 11. Eminent Musicians of Hindustani Music 2. Identification of all the Ragas by listening to their The following musicians to be studied: Alaap. Pt. Ravi Shankar, Pt. Bhimsen Joshi. 3. Playing of ten Alankars in Shudh Swar. Life sketch, work and achievements of the above. 4. Recitation of the following Taal in Dugun and Chaugun Laya: (i) Chaartaal (ii) Ektaal (iii) Roopak PART 3: INSTRUMENTAL MUSIC-PERCUSSION (TABLA) PAPER 1: THEORY (70 Marks) 4. Compositions of Tabla 1. History and knowledge of Tabla Tihai (Damdar/Bedam), Gat, Kayada, Palta, Rela, Brief history of origin and evolution of tabla, Laggi, Ladi, Chakkardar Tukda, Paran. drawing and labelling with description and Definition and explanation with examples. tuning. 5. Additional terms 2. Five Pranas of Taal Sam, Taali, Khali, Vibhag, Lehra (Nagma) Grah, Jaati, Yati, Prastar, Laya Definition and explanation with examples. Definition and explanation with sub divisions and examples. 6. Talas Jhaptaal, Dadra, Teental, Dhamar, Kaharwa 3. Classification of Indian musical Instruments: Complete notation of the above in Thah, Dugun, Tat -Vitat, Sushir, Avanadh, Ghan Tigun, and Chaugun Laya with characteristics. Definition and explanation with examples. 4 7. Method of presentation PAPER 2: PRACTICAL (30 Marks) Solo (Ekal) and accompaniment (Sangat). 1. The practical work is to be assessed by the teacher Meaning, Solo presentation (order of and a Visiting Examiner appointed locally and performance); Playing technique while approved by the Council. accompanying with vocal and instrumental Playing of the following Talas on Tabla in Thah, music. Dugun and Chaugun Layakari: 8. Eminent Musicians of Hindustani Music (i) Jhaptaal (ii) Dadra (iii)Teentaal (iv) Dhamar The following musicians to be studied: (v) Kaharwa Pt. Kishan Maharaj, Ustad Ahmad Jaan Thirakwa 2. Keeping the Wazan of the Taal intact Life sketch, work and achievements demonstration of the following: (i) Two Kism in Kaharwa. 9. Topics of general interest related to Music (ii) Two Kism in Dadra. Essay type question of about 200 words will be (iii) One Tukada, two Kism and one Kayada with asked. two paltas and Tihai in Jhaptal. (iv) One Gat, One Laggi, One Ladi, one Chakkardar Tukda and Paran, one Kayada with two paltas and Tihai in Teentaal. 5 (B) INDIAN MUSIC (CARNATIC) (873) (May not be taken with Hindustani Music or Western Music) Note: The Syllabus for this subject has not been changed. CLASS XII There will be two papers: 5. Manodharma Sangita and its forms - Paddati in developing rage alpana and Kapana Svaras. Paper 1: Theory: 3 hours ..... 70 marks Paper 2: Practical: ..... 30 marks 6. Dasavida gamakas (Ten gamakas). 7. The scheme of the 35 Talas. Chapu tala and its PAPER 1: THEORY (70 Marks) varieties. Desadi and Madyadi talas, Kriya, Anga. Laya, Gati, Matra (a detailed knowledge of two/ Candidates will be required to answer five questions five pranas) shadhangas. in all. 8. Musical forms and their association. An advanced 1. The fundamental technical terms and their knowledge of the following musical forms: meanings (Ref. South Indian Music, Book 1 by P. Sambamoorthy, Chap. III, pp. 38-48). 1. Gita 2. Tana Verma 2. Principles of Sa, re, ga, ma, notations as laid down 3. Padavarna 4. Kriti in K.V. Srinivasa Iyengar's Music Books and in P. 5. Ragamalika 6. Padam Sambamoorthy's "South Indian Music Series", Significance of symbols commonly used. 7. Javali 8. Tillana 3. Raga classification in Carnatic Music. The 9. History of Carnatic Music with special reference scheme of the 72 Melakartas. The names of the 12 to the following composers and theorists including chakras.
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