MUSIC Aims: One of the three following syllabuses may be offered: 1. To encourage creative expression in music. 2. To develop the powers of musical appreciation. (A) Indian Music (Hindustani) (872). (B) Indian Music (Carnatic) (873). (C) Western Music (874). (A) INDIAN MUSIC (HINDUSTANI) (872) (May not be taken with Western Music or Carnatic Music) CLASSES XI & XII The Syllabus is divided into three parts: PAPER 2: PRACTICAL (30 Marks) Part 1 (Vocal), The practical work is to be evaluated by the teacher and a Visiting Practical Examiner appointed locally Part 2 (Instrumental) and and approved by the Council. Part 3 (Tabla) EVALUATION: Candidates will be required to offer one of the parts Marks will be distributed as follows: of the syllabus. • Practical Examination: 20 Marks There will be two papers: • Evaluation by Visiting Practical 5 Marks Paper 1: Theory 3 hours ….. 70 marks Examiner: Paper 2: Practical ….. 30 marks. (General impression of total Candidates will be required to appear for both the performance in the Practical papers from one part only. Examination: accuracy of Shruti and Laya, confidence, posture, PAPER 1: THEORY (70 Marks) tonal quality and expression) In the Theory paper candidates will be required to • Evaluation by the Teacher: 5 Marks attempt five questions in all, two questions from Section A (General) and EITHER three questions (of work done by the candidate from Section B (Vocal or Instrumental) OR three during the year). questions from Section C (Tabla). NOTE: Evaluation of Practical Work for Class XI is to be done by the Internal Examiner. 266 CLASS XI PART 1: VOCAL MUSIC PAPER 1: THEORY (70 Marks) The above Ragas with special reference to their notes Thaat, Jaati, Aaroh, Avaroh, Pakad, Vadi, 1. Introduction to Musical Terms Samvadi, Anuvadi, Vivadi, Varjya, Vikrit, (i) Dhwani Singing/Playing Time with examples. Meaning, origin, types (Naad and Kolahal/noise). 4. Taal and Taal-lipi (ii) Shruti Notation of the following ‘Talas’: Teentaal, Dadra, Kaharwa, Jhaptaal. Meaning and origin. The above Talas with their Thekas, Tali, Khali, (iii) Swar Vibhag in Thah, dugun and chaugun laya. Meaning of Swar and types {Shudha, Vikrit (Tivra, Komal) Vadi, Samvadi, 5. Swarlipi of Chota Khayal Anuvadi, Vivadi, Varjya, Vakra, Grah, Ansh, Nyas: Meaning with examples}. Notation of the following Ragas: Yaman, Bhupali, Khamaj, Bhairav, Desh (iv) Saptak Sthai and antara with the mention of the name of Meaning and types (Mandra, Madhya and the Raga (with its Aaroh, Avaroh) and Taal with Taar) with symbol. clear indication of Swar and Taal signs. (v) Thaat Meaning, types, rules, number and names 6. Eminent Musicians of Hindustani Music with examples in Bhatkhande system. The following musicians to be studied: Vishnu (vi) Raga Narayan Bhatkhande, Vishnu Digambar (a) Meaning of Raga; Types (Janak, Janya- Paluskar. Meaning with examples). Life sketch, work and achievements. (b) Jati of Raga (Odava, Shadava and Sampoorna -Meaning and their nine 7. Topics of general interest related to Music Upjatis). Essay type questions of about 200 words will be (vii) Varna asked on the above. Meaning and types with examples (Sthayi, PAPER 2: PRACTICAL (30 Marks) Aarohi, Avarohi and Sanchari). 1. Demonstration of the following Ragas by singing (viii) Alankar Chota Khayal with five Taans: Meaning and example in Shudh Swar. (i)Yaman (ii) Bhupali (iii) Khamaj (iv) Bhairav (ix) Taal (v) Desh Meaning and examples of Matra, Tali, Khali, Vibhag, Sam, Theka, Aavartan, Thah 2. Recitation of the following Talas in Thah, Dugun (Ekgun), Dugun and Chaugun. and Chaugun. Laya showing various divisions by Tali and Khali with hand gestures (Padhant): 2. Forms of Composition (i) Teentaal (ii) Dadra Khayal (Bada Khayal and Chhota Khayal) (iii) Kaharwa Origin, meaning, characteristics and (iv) Jhaptaal comparative study. 3. Singing five Alankars. 3. Introduction to Ragas 4. Singing of a devotional or folk song of the Yaman, Bhupali, Khamaj, Bhairav, Desh. candidate’s choice. 267 PART 2: INSTRUMENTAL MUSIC PAPER 1: THEORY (70 Marks) 3. Introduction to Ragas 1. Introduction to Musical Terms Yaman, Bhupali, Khamaj, Bhairav, Desh. (i) Dhwani The above Ragas with special reference to their Meaning, origin, types (Naad and Kolahal/ notes Thaat, Jaati, Aaroh, Avaroh, Pakad, Vadi, noise). Samvadi, Anuvadi, Vivadi, Varjya, Vikrit, Singing/Playing Time with examples. (ii) Shruti Meaning and origin. 4. Taal and Taal-lipi (iii) Swar Notation of the following ‘Talas’: Teentaal, Meaning of Swar and types {Shudha, Vikrit Dadra, Kaharwa, Jhaptaal. (Tivra, Komal) Vadi, Samvadi, Anuvadi, Vivadi, Varjya, Vakra, Grah, Ansh, Nyas: The above Talas with their Thekas, Tali, Khali, Meaning with examples}. Vibhag in Thah, dugun and chaugun laya. (iv) Saptak 5. Swarlipi of Razakhani/Drut Gat Meaning and types (Mandra, Madhya and Tar) with symbol. Notation of the following Ragas: Yaman, Bhupali, Khamaj, Bhairav, Desh. (v) Thaat Meaning, types, rules, number and name with Sthai and antara with the mention of the name of example in Bhatkhande system. the Raga (with its Aaroh, Avaroh) and Taal with clear indication of Swar and Taal signs and bols (vi) Raga of Gat. (a) Meaning of Raga; Types (Janak, Janya- Meaning with examples). 6. Eminent Musicians of Hindustani Music (b) Jati of Raga (Odava, Shadava and The following musicians to be studied: Vishnu Sampoorna - Meaning and their nine Narayan Bhatkhande, Vishnu Digambar Upjatis). Paluskar. (vii)Varna Meaning and types with example (Sthayi, Life sketch, work and achievements of the above. Aarohi, Avarohi and Sanchari). 7. Topics of general interest related to Music (viii)Alankar Meaning and example in Shudh Swar. Essay type questions of about 200 words will be asked on the above. (ix) Taal Meaning and examples of Matra, Tali, Khali, Vibhag, Sam, Theka, Aavartan, Thah (Ekgun), Dugun and Chaugun. 2. Types and techniques of String Instruments Types: Chal Thaat and Achal Thaat; Techniques: Krintan, Zamzama, Murki, Khatka, Kampan. Origin, meaning, characteristics and comparative study. 268 PAPER 2: PRACTICAL (30 Marks) (i) Teentaal (ii) Dadra (iii) Kaharwa (iv) Jhaptaal 1. Demonstration of following Ragas by playing Razakhani/ Drut Gat with Five Todas. 3. Playing five Alankars. (i)Yaman (ii) Bhupali (iii) Khamaj (iv) Bhairav 4. One Dhun to be played on any Raga either from (v) Desh the syllabus or any other Raga of the candidate’s choice. 2. Recitation of the following Talas in Thah, Dugun and Chaugun. Laya showing various divisions by Tali and Khali with hand gestures (Padhant): PART 3: INSTRUMENTAL MUSIC-PERCUSSION (TABLA) PAPER 1: THEORY (70 Marks) 6. Topics of general interest related to Music 1. Eminent Musicians of Hindustani Music Essay type question of about 200 words will be asked on the above. The following musicians to be studied: Vishnu Narayan Bhatkhande, Vishnu Digambar PAPER 2: PRACTICAL (30 Marks) Paluskar. 1. Playing the following Talas on Tabla in Thah Life sketch, work and achievements of the above. Dugun and Chaugun Layakari: 2. Terms related to Tabla (i) Teentaal Theka, Avartan, Kism, Tukda, Mukhda, Mohra, (ii) Ektaal Uthaan, Paran, Peshkara. (iii) Chaartaal (iv) Rupak Meaning and examples of the above. (v) Tivra 3. Taal and Taal-lipi 2. Keeping the Wazan of the Taal intact, Teentaal, Ektaal, Chaartaal, Rupak, Tivra. demonstration of the following: Complete notation of the above Talas with their (i) One Peshkara, One Uthaan, One Kayada with Thekas, Tali, Khali, Vibhag in Thah, Dugun and four Paltas and Tihai in Teentaal. Chaugun Laya and their characteristics. (ii) One Tihai in Teentaal. 4. Five Pranas of Taal (iii) One Paran in Chaartaal Kaal, Marg, Kriya, Ang, Kala. (iv) One Tukda in Ektaal Definition with examples. (v) One Kism each in Rupak and Tivra 5. Syllables of Tabla 3. Identification and production of syllables on Technique of producing syllables of Tabla Tabla. (Dahina and Bayan) individually and jointly. 4. Accompaniment of Tabla (only Thekas) with music played or sung. 5. Knowledge of Lehra. 269 CLASS XII PART I: VOCAL MUSIC PAPER 1: THEORY (70 Marks) 7. Raga (i) Bihag, Bageshwari, Kafi, Bhairavi, Malkauns 1. Musical Terms and Forms (ii) Identification of Raga by written note- (i) Naad combination Meaning, origin, types (Aahat, Anahat) and (iii) Comparison and contrast between above qualities (Volume, Pitch, and Timbre). mentioned Raga. (ii) Raga Complete theory of the above mentioned Type of Raga: Poorva, Uttar, Sandi- Ragas with special reference to their Swar, Prakash, Shudha, Chhayalag, Sankirna Thaat, Jaati, Aaroh, Avaroh, Pakad, Vadi, (Meaning with examples). Samvadi, Anuvadi, Vivadi, Varjya, Vikrit, Samprakriti Raga and singing/playing time. (iii) Forms of composition: Dhrupad, Dhamar. Origin, development and characteristics to 8. Notation of Taal be done in detail. Dhamar, Ektaal, Roopak, Chartaal. (iv) Meend, Andolan, Gamak, Kan, Alaap, Taan. Meaning, uses with examples wherever The above Talas with their Thekas, Tali, Khali, applicable. Vibhag in Thah, Dugun, Tigun and Chaugun Laya. 2. Systems of Indian Classical Music 9. Notation of Bandish (Chhota Khayal and Bada The two systems of Indian Classical Music. Khayal) Hindustani and Carnatic Music – comparative Sthai and antara with the mention of the name of study with reference to technique of usage, Swar, the raga (with its aaroh, avaroh) and taal with Taal, composition, instruments used and clear indication of Swar and Taal signs. language. Note: Chhota Khayal in all Ragas and One Bada Khayal of candidates choice from the Ragas 3. Placement of Swaras on twenty-two Shrutis (Bihag, Bageshwari, Kafi, Bhairavi, Malkauns). Ancient and modern methods of placement of 10. Classification of Indian Musical Instruments seven Swaras amongst Shrutis. Tat -Vitat, Sushir, Avnada, Ghan. 4. “Thaats” of Bhatkhande Explanation with examples. Ten Thaats with name, swar, signs and basic rules. 11. Eminent Musicians of Hindustani Music The following musicians to be studied: Pt. Ravi 5. Vadi Swar and time of Raga Shankar, Pt. Bhimsen Joshi. Life sketch, work and achievements of the above.