Subject: Performing Arts

Class: X

The syllabus is divided into three sections:

• Section A - Vocal Music

• Section B - Instrumental Music

• Section C – Tabla.

SECTION A (HINDUSTANI VOCAL MUSIC) THEORY

1. Definition, explanation and illustration where necessary of the following: Sound (Dhwani), Production of sound; vibration, frequency; Nad, three qualities of Nad (volume, pitch, timbre); Nad and Shruti; Forms of Geet (Barakhyal, Chhota Khyal, Dhupad, Dhamar, Tappa, Thumri, Lakshan Geet, Swaramalika – Sargan – detailed description not required); Meend, Kan (sparsha swar), Tigun.

2. Complete description of all the sixteen ragas mentioned under ‘Practical’ in Classes IX and X.

3. Writing in the Tal notation, all the ten Talas learnt in Classes IX and X, their Dugun; Tigun and Chaugun of easy talas.

4. Writing in complete musical notation all the Vilambit and Drut Khyals learnt with a few Tans and Dhrupads with their Dugun, Tigun and Chaugun; writing the national anthem Jana Gana Mana in musical notation.

5. Identification of Ragas (a few note combinations given) and Talas (a short portion given).

6. Life and contribution in brief of Tansen, Vishnu Digambar Paluskar and Vishnu Narayan Bhatkhande.

7. Names of 4 national vocalists (present or of recent past).

PRACTICAL

1. Singing and identifying Shudha and Vikrit notes and combination of 2, 3, or 4 notes.

2. Laya and Layakaris; Tigun layakaris as well.

3. Singing of a few more difficult alankaras; singing of easy alankaras in Teental, Dadra or Kaharwa.

4. Singing of one Madhya-laya Khyal song in each of the following eight ragas, with self-made extempore Alaps and Tans also, besides some sample fixed ones: Bihag, Desh, Tilak Kamod, Bhimpalasi, Bageshri, Brindabani Sarang, Malkaus and Jaunpuri; two Dhrupad Geets in any two of these ragas; with Dugun, Tigun and Chaugun; one song in Jhaptal and one in Roopak (action or folk or devotional or patriotic song); the
   national song Sare Jahan Se Achha.

5. Singing of Vilambit Khyals with very simple alaps and tans in at least any four of the following eight ragas: Alhaiya Bilawal, Yaman, Bhupali, Bihag, Bhimpalasi, Bageshri, Malkaus and Jaunpuri.

6. Reciting the Thekas of the following new tals as also those learnt in Class IX in Dugun, Tigun and Chaugun, showing Tali, Khali and Matras on hands (Tigun only in simple Tals): Ektal, Rupak, Sooltal, Teevra and Deepchandi (Chanchar).

7. Identification of ragas learnt in Classes IX and X.

8. Tuning of Tanpura – initial attempt; playing the four strings.

SECTION B (HINDUSTANI INSTRUMENTAL MUSIC) (EXCLUDING TABLA) THEORY

1. Definition, explanation and illustration where necessary of the following: Sound (Dhwani), Production of sound; vibration, frequency; Nad, three qualities of Nad (volume, pitch, timbre); Nad and Shruti; Gat, Forms of Gat (Maseetkhani and Razakhani); Kan; Meend, Soot; Chal and Achal That; Zamzama; Jhala; Gamak, Baj, Tigun.

2. Methods of handling instruments; tuning of the instrument.

3. Short history of the instrument.

4. Complete description of all the sixteen ragas mentioned under ‘Practical’ in Classes IX and X.

5. Writing in the Tal notation, all the ten Talas learnt in Classes IX and X, their Dugun; Tigun and  Chaugun of easy talas.

6. Writing in complete musical notation all the Vilambit and Drut Gats learnt with a few Tans or Toras; writing the notation of the national anthem Jana Gana Mana.

7. Identification of Ragas (a few note combinations given) and Talas (a short portion given).

8. Life and contribution in brief of Tansen, Vishnu Digambar Paluskar and Vishnu Narayan Bhatkhande.

9. Names of four national instrumentalists of the instrument concerned (present or of recent past).

PRACTICAL

1. Playing of some more alankaras in different layakaris and Talas.

2. Identifying notes (Shudha as well as Vikrit) sung or played by the teacher and playing the notes as instructed.

3. Playing of Razakhani Gat or Madhya Laya Gat in each of the following eight ragas: Bihag, Desh, Tilak Kamod, Bhimpalasi, Bageshri, Brindabani Sarang, Malkaus and Jaunpuri; Alap and Tans or Toras and simple Jhalas in them; one simple tune (Dhun) in Jhaptal and one in Roopak Tal; playing of national song Sare Jahan Se Achha.

4. Playing of Maseet Khani Gat or Vilambit Gat with simple Alap, Tans or Toras and Jhala in the following (at least any four) ragas: Alhaiya Bilawal, Yaman, Bhupali Bihag, Bhimpalasi, Bageshri, Malkaus and Jaunpuri.

5. Reciting the Thekas of the following new Tals as also those learnt in class IX in Dugun, Tigun and Chaugun, showing Tali, Khali and Matras on hands (Tigun in simple Tals only): Ektal, Roopak,  Soobtal, Teevra and Deepchandi (Chanchar).

6. Identification of ragas learnt in Classes IX and X.

7. Playing of more difficult bols and Kan, Meend or Soot and easy gamaks.

SECTION C (HINDUSTANI INSTRUMENTAL MUSIC) (PERCUSSION, LIKE TABLA) THEORY

1. Elementary knowledge and explanation of the following: Laya and layakari; Tigun and Aar (vkM+ ) (3 matras in 2 matras, Derhgun); Paran; Rela; Uthan; ten varnas; ten Prans; Tal Jati; Sala and Sangat; Parhant; Lahra.

2. Writing in Tal-notation, Thekas, in Thah, Dugun, Tigun and Chaugun, of all Tals learnt in Classes IX and X; writing their development as well.

PRACTICAL

1. Practice of counting numerals 1, 2, 3, etc, in Thah, Dugun, Tigun and Chaugun, giving Tali on hands.

2. Technique of producing bols on Tabla like Tirkit, Kran, etc.; ten varnas.

3. Playing of Thekas of the following six talas with simple development: Rupak, Sooltal, Teevra, Deepchandi, Tilwara, and Jhumra. Simple development may include Mohra, Mukhara, Tukra, Paran, Tihai, Kismen, Kayada, Palta, Rela, Uthan, etc. as suited to particular talas.

4. Singling of seven shuddha swaras should be continued. Tuning of Tabla to be attempted.

5. Reciting Thekas of all Tals of Classes IX and X with development mentioned in (3), giving Tali, Khalki etc. by hands; thekas should also be recited in Dugun, Tigun and Chaugun in suitable Talas (Parhant).

6. Playing on the Tabla to accompany singers and players of Sitar etc. should be attempted; mostly, simple Thekas and very simple development should be played during accompaniment.

PART 2: (To be assessed internally by the School in Class X).

Practical Work in Music (Hindustani) - 100 Marks

Course Work

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 undertaken in connection with the topics suggested below. The 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 continuous assessment or on the basis of periodical tests.

2. Suggested topics for practical work: (i) Individual performances, (ii) Practice for school functions, (iii) performance in a group of either players or singers, not necessarily in school, (iv) Making a musical instrument.

3. In addition to the course work the candidates will be tested in singing or playing one instrument by an External Examiner. Where a candidate has chosen to make a musical instrument, the instrument may be put up for
inspection by the External Examiner. Where a candidate has personally taken part in performances, tape recorded evidence may be submitted for assessment by the External Examiner.

Assessment

1. The teacher and the External Examiner will assess the practice and performance of candidates.

2. The following aspects of practice and performance should be taken into consideration: (i) Musical performance, Expression, Diction, Tonal quality, Breath control; (ii) Accuracy; (iii) Style and interpretation.

3. The External Examiner may be a teacher nominated by the Head of the school, who could be from the faculty, but not teaching the subject in the section/class. For example, a teacher of Music of Class VIII may be  deputed to be an External Examiner for Class X, Music Projects. The Internal Examiner and the External Examiner will assess the assignments independently.

Award of Marks Subject Teacher (Internal Examiner) 50 marks

External Examiner 50 marks

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 entry of marks on the mark sheets provided by the Council.

Courtesy: cisce.org