ICSE Class 10 Syllabus 2028 Performing Arts

ICSE
INDIAN CERTIFICATE OF
SECONDARY EDUCATION
EXAMINATION
YEAR 2028

PERFORMING ARTS
(91-95)

Developed by:
Research, Development and Curriculum Division (RDCD)
CISCE

January 2026
____________________________________________________________________________________________

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Council for the Indian School Certificate Examinations (CISCE)

MISSION STATEMENT

The Council for the Indian School Certificate
Examinations is committed to serving the nation's
children, through high quality educational
endeavours, empowering them to contribute towards
a humane, just and pluralistic society, promoting
introspective living, by creating exciting learning
opportunities, with a commitment to excellence.

ETHOS OF CISCE

Trust and fair play.
Minimum monitoring.
Allowing schools to evolve their own niche.
Catering to the needs of the children.
Giving freedom to experiment with new ideas
and practices.
Diversity and plurality - the basic strength for
evolution of ideas.
Schools to motivate pupils towards the
cultivation of:
Excellence - The Indian and Global
experience.
Values - Spiritual and cultural - to be the bedrock
of the educational experience.
Schools to have an 'Indian Ethos', strong roots in
the national psyche and be sensitive to national
aspirations.

PERFORMING ARTS (91 – 95)

Aims:
1. To develop a perceptive, sensitive and critical response to music, dance and drama in its historical and cultural
contexts.
2. To stimulate and develop an appreciation and enjoyment of music, dance and drama through active
involvement.
3. To balance the demands of disciplined skills and challenging standards in an environment of emotional,
aesthetic, imaginative and creative development.
4. To develop performing skills, and so encourage a participation in the wide range of performance activities
likely to be found in the school and community.
5. To develop a co-operative attitude through the organisation and participation associated with music, dance
and drama.
6. To provide an appropriate body of knowledge with understanding, and to develop appropriate skills as a basis
for further study or leisure or both.

One of the following five syllabuses may be offered:
Hindustani Music (91)
Carnatic Music (92)
Western Music (93)
Indian Dance (94)
Drama (95)

HINDUSTANI MUSIC (91)
CLASS IX
There will be one paper of two hours duration carrying 100 marks and Internal Assessment of 100 marks.
The syllabus is divided into three sections:
Section A - Vocal Music
Section B - Instrumental Music
Section C - Tabla

1

PART 1: THEORY – 100 Marks
SECTION A: HINDUSTANI VOCAL MUSIC
1. (a) Non-detail terms: Sangeet; two main systems of Indian Music; Naad, Saptak; Thaat; Alankar; Raga,
Janak-Janya Ragas and Ashraya raga; Vadi, Samvadi, Anuvadi, Vivadi; Aroha, Avaroha, Pakad; Chal
and AchalSwara.
Sthayi, Antara; Taan, Alaap; Matra, Vibhag, Taal, Avartan, Sam, Tali, Khali, Theka; Thah (Barabar or
Ekgun), Dugun, Chaugun.
(b) Detailed topics: Swara (Shuddha and VikritSwars), Jati (Odava, Shadava, Sampoorna), Laya (Vilambit,
Madhya, Drut), Varna (Sthai, Arohi, Avarohi, Sanchari), Forms of Geet – Swaramalika, Lakshangeet,
Khayal (BadaKhayal and ChotaKhayal), Dhrupad.
2. Description of the five ragas mentioned under ‘practical’ – their Thaat, Jati, Vadi-Samvadi, Swaras (Varjit
and Vikrit), Aroha-Avaroha, Pakad, time of raga and similar raga.
3. Description of the five taals mentioned under ‘practical’; writing them in Thah and Dugun Taal notation.
4. Knowledge of musical notation system of Pt. V.N. Bhatkhande (Swara and Taal-lipi); writing ChotaKhayal,
Swarmalika and Lakshangeet, Dhrupad (only Sthayi and Antara) in musical notation.
5. Identification of ragas with the help of given short Swara-vistar.
6. Life and contribution in brief of Tansen and Pt. V.N. Bhatkhande.

PRACTICAL
1. Singing and identifying Shuddha and Vikrit Swaras.
2. Idea of Laya; Vilambit, Madhya and Drutlayas.
3. Singing of 10 alankars in Dugun and ChaugunLaya.
4. Yaman, Khamaj, Kafi, Bhairavi, AlhaiyaBilawal - Singing of one Madhya layakhayal song in any three ragas
as mentioned above (with alaaps and taans). Lakshangeet and Swarmalika in the other two ragas, One Dhrupad
Geet in any one raga (Only sthai and antara); National Anthem - Jana Gana Mana and National Song – Vande
Mataram (notation is not required).
5. Padhant (Reciting): Thekas of the following five taals with Taali, Khali shown on hands: Teen Taal, Keharwa,
Dadra, Ektaal and Chartaal; their Dugun also.
6. Identification of ragas.

2

SECTION B
HINDUSTANI INSTRUMENTAL MUSIC
(EXCLUDING TABLA)

THEORY
1. (a) Non-detail terms: Sangeet; two main systems of Indian Music; Naad, Saptak; Thaat; Alankar; Raga,
Janak-Janya Ragas and Ashraya raga; Vadi, Samvadi, Anuvadi, Vivadi; Aroha, Avaroha, Pakad;Chal and
AchalSwar.
Chal and AchalThaat, Toda, Alaap; Matra, Vibhag, Taal, Avartan, Sam, Taali, Khali, Theka; Thah
(Barabar or Ekgun), Dugun, Chaugun.
(b) Detailed topics: Swara (Shuddha and VikritSwars), Jati (Odava, Shadava, Sampoorna), Laya (Vilambit,
Madhya, Drut), Varna (Sthai, Arohi, Avarohi, Sanchari), Forms of Gat (Maseetkhani and Razakhani).
2. Description of the five ragas mentioned under ‘practical’ – their Thaat, Jati, Vadi-Samvadi, Swaras (Varjit
and Vikrit), Aroha-Avaroha, Pakad, time of raga and similar raga.
3. Description of the five taals mentioned under ‘practical’; writing them in Thah and Dugun in Taal notation.
4. Knowledge of musical notation system of Pt. V.N. Bhatkhande (swara and Taal-lipi); writing Razakhani Gat
(with Bols).
5. Identification of ragas with the help of given short swara-vistar.
6. Life and contribution in brief of Tansen and Pt. V.N. Bhatkhande.

PRACTICAL
1. Handling of the instrument; correct posture and finger movement.
2. Playing of 10 alankars in Thah, Dugun and Chaugun.
3. Yaman, Khamaj, Kafi, Bhairavi, AlhaiyaBilawal – Playing of one Razakhani Gat in all the ragas as mentioned
above (with alaaps and todas). Dhun in any raga mentioned above. National Anthem-Jana Gana Mana and
National Song – Vande Mataram (notation is required).
4. Padhant (Reciting) - Thekas of the following five taals with Taali, Khali shown on hands: Teen Taal, Keharwa,
Dadra, Ektaal and Chartaal; their Dugun also.
5. Identification of ragas.
6. Playing of simple Bols like Da Ra Da Ra, Da Ra Dir Dir, Da Dir, Da Ra, etc.

3

SECTION C
HINDUSTANI INSTRUMENTAL MUSIC
(PERCUSSION - TABLA)

THEORY
1. (a) Non-detail terms: Matra, Taal,Vibhag; Sam; Tali, Khali, Avartan, Theka, Kayada, Palta, Tihai, Mohra,
Mukhada, Tukda, Kismen (varieties of Theka) and Peshkara.
(b) Detailed topic: Laya (Vilambit, Madhya and Drut), Layakari (Thah, Dugun, Tigun and Chaugun), Origin
and development of Tabla.
2. Writing in Taal-notation of the six Taals mentioned under ‘practical’; with their simple development; writing
of Thekas in Thah, Dugun and Chaugunlayakaris.
3. Basic knowledge of: Sangeet, Swara and Saptak.

PRACTICAL
1. Knowledge and practice of Vilambit, Madhya and Drutlayas as also of Thah, Dugun and Chaugun, with the
help of Tali, Khali and matras on hands while reciting Thekas of Taals prescribed.
2. Technique of producing main syllables of Tabla and Bayan (Varnas) like Ta, Dha, Ge, Kat, Tin, Dhin, Tita
etc.
3. Playing of Thekas of the following six Taals with development: two kaayadas and its four paltas with tihai in
Teentaal, One tukda in each Jhaptaal and Ektaal, one paran in chaartaal, two kismen each in Dadra and
KeharwaTaal.
4. Accompaniment (Sangat) in Taals (Dadra and Keharwa).
5. Padhant(Reciting) - Thekas in Thah and Dugun. Simple developments of Taals mentioned in para (3),
showing Taali, Khali etc. on hands.

4

CLASS X
The syllabus is divided into three sections:
Section A - Vocal Music
Section B - Instrumental Music
Section C-Tabla.

PART 1: THEORY – 100 Marks
SECTION A: HINDUSTANI VOCAL MUSIC
1. (a) Non-detail terms: Sound (Dhwani), Meend, Kan (Sparshaswar), Gamak, Khatka, Tigun, Tappa, Thumri,
Poorvang, Uttarang, Poorva Raga and Uttar Raga.
(b) Detailed topics: Nad, three qualities of Nad (volume, pitch, timbre); Shruti and placement of 12 swaras;
Dhrupad and Dhamar; relationship between VadiSwar and time of singing raga.
2. Description of the 10 ragas of Classes IX and X mentioned under ‘practical’ – their Thaat, Jati, Vadi-Samvadi,
Swaras (Varjit and Vikrit), Aroha-Avaroha, Pakad, time of raga and similar raga.
3. Writing in the Taal notation, all the 10 Taals learnt in Classes IX and X, their Dugun; Tigun and Chaugun.
4. Knowledge of musical notation system of Pt. V.N. Bhatkhande (swara and Taal-lipi); writing ChotaKhayal,
BadaKhayal, Swarmalika and Lakshangeet.
5. Identification of Ragas of Classes IX and X (a few note combinations given).
6. Life and contribution in brief of Amir Khusroand Pt.Vishnu Digambar Paluskar.
7. A brief description of 4 eminent vocalists (present or recent past).
8. Names of different parts (components) of the Tanpura with the help of a simple sketch. Tuning and handling
of the instrument.

PRACTICAL
1. Singing of three alankars in Teental, Jhaptaal and Dadra each.
2. Bhairav, Bhopaali, Desh, Bageshwari, Malkauns - Singing of Chotakhayal song in any three ragas as
mentioned above (with alaaps and taans). Lakshangeet and Swarmalika in the other two ragas, One
Badakhayal in any one of the above-mentioned ragas (Only sthai and antara); Tarana (notation of Tarana is
not required).
3. Padhant (Reciting)-Thekas of the following new taals as also those learnt in Class IX in Dugun and Chaugun,
showing Tali, Khali and Matras on hands: Rupak, Jhaptaal, Tilwada, Dhamar and Deepchandi (Chanchar).
4. Identification of ragas learnt in Classes IX and X.

5

SECTION B
HINDUSTANI INSTRUMENTAL MUSIC (EXCLUDING TABLA)

THEORY
1. (a) Non-detail terms: Sound (Dhwani); Kan; Meend, Soot; Zamzama; Gamak; Baj; Khatka; Jhala; Tigun.
(b) Detailed topics: Nad; three qualities of Nad (volume, pitch, timbre); Shruti and placement of 12 swaras;
Maseetkhani and Razakhani Gat; Relationship between VadiSwar and time of playing Raga.
2. Origin and the development of the instrument. Methods of handling instruments; tuning of the instrument with
a labelled diagram.
3. Complete description of all the 10 ragas mentioned under ‘Practical’ in Classes IX and X.
4. Writing in the Tal notation, all the 10 Taals learnt in Classes IX and X, their Dugun; Tigun and Chaugun.
5. Writing in complete musical notation of the Maseetkhani and Razakhani Gats.
6. Identification of Ragas (a few note combinations given) of Classes IX and X.
7. Life and contribution in brief of Amir Khusro and Pt. Vishnu DigambarPaluskar.
8. Brief description of four eminent instrumentalists (present or recent past).

PRACTICAL
1. Playing of three alankars in Teental, Jhaptaal and Dadra each.
2. Bhairav, Bhopaali, Desh, Bageshwari, Malkauns – Playing of five Razakhani Gat in all the above five
mentioned Ragas and one Maseetkhani Gat in any one of the five ragas as mentioned above (with alaaps, toda
and jhala). Dhun (notation of Dhun is not required).
3. Padhant (Reciting)-Thekas of the following new taals as also those learnt in Class IX in Dugun and Chaugun,
showing Tali, Khali and Matras on hands: Rupak,Jhaptal, Tilwada, Dhamar and Deepchandi (Chanchar).
4. Identification of ragas learnt in Classes IX and X.

6

SECTION C
HINDUSTANI INSTRUMENTAL MUSIC
(PERCUSSION - TABLA)

THEORY
1. (a) Non-detail terms: Names of 10 Pranas, AadiLaya (Only in Dadra and Keharwa), Lehra (Nagma), Paran,
Uthan, Chakkardar Tukda, Dumdar and BedumTihai, Gat, Padhant,
(b) Detailed topics: Origin and development of Tabla, Basic 10 Varnas (Syllables) of Tabla, TaalJaati System,
Solo and Sangat.
2. Brief description of four eminent percussionist (present or recent past).
3. Writing in Taal notation, Thekas, in Thah, Dugun, Tigun and Chaugun, of all Taals learnt in Class IX and X.
4. Names of different parts (components) of the Tabla with the help of a simple sketch. Tuning of the instrument.
5. Identification of Taals (a few bol combinations given) of Classes IX and X.

PRACTICAL
1. Technique of producing bols on Tabla like Tirkit, Kran, etc.
2. Development of following Taals: Teental – 1 uthan, 2 new kaydas and its 4 paltas with tihai, 1 Rela, 1
Chakardaar Tukda, 1 Damdar and BedamTihai, Roopak – 1 Tihai, Sooltaal – 1 Tihai, Teevra Taal – 1 Paran,
Deepchandi Taal, TilwadaTaal (only Theka).
3. Padhant (Reciting)- Thekas of all Taals of Class IX and X with development mentioned in para (2), giving
Tali, Khali etc. by hands in Dugun and Chaugun.
4. Ability to accompany with vocalist and instrumentalist with development.

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. This 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) Prepare a PowerPoint presentation on an eminent vocalist or instrumentalist.
(v) A visit to a sound recording studio.
3. In addition to the course work the candidates will be tested in singing or playing one instrument by an External
Examiner.

7

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 (100 Marks)
Subject Teacher (Internal Examiner) 50 marks
External Examiner 50 marks
The total marks obtained out of 100 are to be sent to CISCE by the Head of the school.
The Head of the school will be responsible for the online entry of marks on CISCE’s CAREERS portal by the due
date.

8

INTERNAL ASSESSMENT IN HINDUSTANI MUSIC - GUIDELINES FOR MARKING WITH GRADES
Criteria Purity of Swar Laya Knowledge of Ability to recall Overall effect or
raga/taal practical and theoretical presentation
concepts
Grade I Possesses an Has an accurate perception Portrays the raga Performance and Inspired, error free
impeccable sense of of rhythms, its speed and accurately and with presentation reveal a presentation of melody
each part
pitch and note variations. Can build a appropriate feeling. thorough knowledge of and rhythm. Accurate
8
production is solid foundation for Moves within the raga attributes and of the conception of pitch,
marks similarly perfect. musical variation. confines of the 'taal' structure of the taal in correct identification of
structure. general. raga and taal.
Grade II Has good total value Can maintain an even Expresses great feeling Presents well but betrays Pleasing rendition of
but lacks note tempo and is usually but is less than faithful to lack of crucial theoretical melodic and rhythmic
each part
perfection or vice accurate in the use of the grammar of raga or inputs like "Nyas" in the forms, a good working
6
versa. 'layakari" or rhythmic taal. improvisation. knowledge of various
marks variation. degrees of pitch, different
ragas etc.
Grade III Has a moderate Is somewhat erratic in the Can only express the Diligent and keen but Uninspiring, but adequate
sense of pitch with a maintenance of the taal's raga in the most limited shows poor knowledge of bookish presentation of
each part
satisfactory ability speed. However somehow pathways. Has concepts like 'alankara' course material. Erratic
4
to project musical strives to manage the laya. difficulty knowing and 'varna'. sense of pitch. Shaky
marks notes. his/her position vis-a-vis knowledge of raga and
the taal. taal.
Grade IV A bare semblance of Is unable to maintain an The Raga is Moderate presentation not Barely scrapes through
musical quality in even 'laya' foundation. recognizable only as a backed by inner reference the basic required idioms
each part
both tone and pitch Consistently increases or vague idea. Is often out to VadiSamvadi or Tali, of melody and rhythmic
2
concepts. decreases the speed and of rhythm and has little Khali of Raga and Taal. cycle. Poor concept of
marks Sometimes goes off cannot perform even knowledge of the pitch, taal, and raga.
scale. 'Dugun' in proper time. dynamics of taal.
Grade V Does not seem to Has no idea of tune and its Does not Correctly Presentation is confused Has no semblance to
have any concept of relationship to melody. maintain the basic with poorly stated musical effect of any sort.
each part
pitch. Rendition is Cannot maintain the elements of rag and taal. phrases, broken in pitch Cannot keep a tune or
0
off-key. rhythm of simple melodies. and rhythms. maintain tempo. No
marks concept of raga or taal.

9

CARNATIC MUSIC (92)
CLASS IX
There will be one written paper of two hours duration carrying 100 marks and Practical/Internal Assessment of
100 marks.
1. The fundamental technical terms and their meanings.
2. Principle of Sa, Re, Ga, Ma, notations - significance of symbols commonly used.
3. Raga classification in Carnatic music - scheme of 72 melakarthas - the names and syllabus of 12 chakras -
katapayadi formula and its application - 8 kinds of janyaragas - ragalakshana.
4. Lakshanas of the following 16 ragas: Todi; Bhairavi; Kharaharapriya; Kalyani; Sankarabharanam;
Shanmukhayriya; Amavardhini; Chakravakam; Kambhoji; Anandabhairavi; Bilahari; Saveri; PoorviKalyani;
Hindolam; Mohana; Hamsadhwani.
5. Manodharmasangita and its forms, Raga, Alapana pad-dhai - kalpanasvaras - Dasavidhagamakas.
6. The scheme of 35 talas - Chaputala and its varieties - Desadi and Madhayaditalas - Kriya - Anga - Laya - Gati
- Matra (a detailed knowledge of any two) - Shadangas.
7. Musical forms and their classification - An advanced knowledge of the following musical forms: Gita,
Tanavarna, Padavarna, Kriti, Ragamalika, Padam, and Javali.

CLASS X
PART1: There will be one written paper of two hours duration carrying 100 marks.
1. History of Carnatic music with special reference to the following composers and theorists, including their
biographies and their contribution to Carnatic music: (1) Thyagaraja, (2) Syama Sastry, (3) Muthuswami
Dikshitar,(4) Jayadeva, (5) Narayana Tirtha,(6) Purandaradas, (7) Bhadrachala Ramadas, (8) Kshetrajna, (9)
Arunachala Kavirayar, (10) Veena Kuppayyar, (11) Patnam Subramaina Iyer, (12) Gopal Krishna Bharati.
2. Classification of musical instruments into string, wind and percussion group. A general knowledge of Vina,
Violin, Gottuvadyam, Tambura, Flute and Mridangam - Training of human voice and compass of the concert
instruments in South India.
3. Musical sound and voice - Pitch, intensity, and timbre - Sympathetic vibration - Resonance - Echoes - Musical
intervals - Modal shift of tonic i.e. Grahabhedam.

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

10

PRACTICAL WORK IN MUSIC (CARNATIC) - 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 performance, tape
recorded evidence may be submitted for the assessment by the External Examiner.
Assessment
1. The teacher and the External Examiner will assess the practice and performance of candidates.
2. The following aspect 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 (100 Marks)
Subject Teacher (Internal Examiner) 50 marks
External Examiner 50 marks
The total marks obtained out of 100 are to be sent to the CISCE by the Head of the school.
The Head of the school will be responsible for the online entry of marks on the CISCE’s CAREERS portal by the
due date.

11

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. thorough knowledge of rhythm. Accurate
marks
production is foundation for musical Moves within the confines raga attributes and of the conception of pitch, correct
similarly perfect. variation. of the '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 Uninspiring, 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 '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
musical quality in 'laya' foundation. only as a vague idea. Is backed by inner reference basic required idioms of
each part 2
both tone and pitch Consistently increases or often out of rhythm and has to VadiSamvadi or Tali, melody and rhythmic cycle.
marks concepts. Sometimes decreases the speed and little knowledge of the Khali of Raga and Tala. Poor concept of pitch, tala,
goes off scale. cannot perform even 'Dugun' dynamics of tala. and raga.
in proper time.
Grade V Does not seem to have Has no idea of tune and its Does not Correctly Presentation is a Has no semblance to musical
any concept of pitch. relationship to melody. maintain the basic hotchpotch of poorly stated effect of any sort. Cannot
each part 0
Rendition is off-key. Cannot maintain the rhythm of elements of rag and taal. phrases, broken in pitch and keep a tune or maintain
marks simple melodies. rhythms. tempo. No concept of raga
or tala.

12

WESTERN MUSIC (93)
CLASSES IX AND X
There will be one paper of two hours duration carrying 100 marks and Internal Assessment of 100 marks.

PART 1: THEORY – (100 MARKS)
The syllabus is divided into two Sections:
Section A - Musical Instruments
Section B - Forms and Analysis of Music

SECTION A: MUSICAL INSTRUMENTS
1. Musical Instruments: Sound production and playing techniques of the following families of instruments:
(a) Keyboard family:
Harpsichord, clavichord and acoustic pianoforte.
(b) Pipe Organ
(c) The String family:
Violin, Viola, Violoncello, Double Bass.
(d) The Guitar family:
Classical, Spanish, Hawaiian guitars.
(e) Woodwind family:
Flute, Piccolo, Oboe, Clarinet, Cor Anglais, Bassoon, Saxophone.
(f) Brass Family:
Trumpet, French Horn, Trombone, Tuba.
(g) Percussion family
Timpani (Kettle Drums), Bass Drum, Snare Drum, Tambourine, Tubular Bells, Xylophone,
Glockenspiel.
Note:
• Candidates are expected to know the tuning notes and clefs of the following: The String family and The
Guitar family. They will be expected to be able to write these on staff notation, beginning with the lowest
in pitch. They are expected to know the range of any one woodwind and any one brass instrument of their
choice.
• Any TWO Similarities and TWO differences between members of the same family, for example e.g.: oboe
& clarinet; flute & piccolo, trombone & tuba, etc.

SECTION B: FORMS AND ANALYSIS OF MUSIC
2. Forms of Music
(a) Symphony
Definition, structure (form), Sonata Form; Analysis of any one symphony of the candidate’s choice.
(*format for analysis for symphony given at the end of the syllabus.)
(b) Concerto
Definition, structure (form); Analysis of any one Concerto (of the Classical or Romantic period) of
the candidate’s choice (**format for analysis for Concerto given at the end of the syllabus.)
(c) Jazz
Origin, characteristics, instrumentation, Genres of Jazz: New Orleans, Swing, Bebop.

13

(d) Popular Music
Life, works, style and reasons for popular appeal of any solo artiste (vocal or instrumental) and / or
band of the candidate’s choice. Genres of music may include but are not limited to:
Folk, Country, Gospel, Soul, Reggae, Pop, Rock, R&B, Hip Hop, Electronic Music.
3. Life and Works
(a) Life & works and unique contribution of the following composers:
J.S Bach, G.F Handel, J. Haydn, W.A Mozart, L.van Beethoven, F. Schubert, P.I Tchaikovsky, J.
Brahms, A. Dvořák.
(b) Life, works and style of the following exponents of Jazz; Louis Armstrong, Duke Ellington, George
Gershwin, Miles Davis.
Note:
Candidates are expected to write an essay of approximately 500 words on the life, works and contribution of
the composer/s and/or exponents mentioned above.

4. Technology in Music
(a) Electronic Music
Definition and scope of Electronic Music; description of the Theremin and the Moog Synthesizer.
(b) Basic knowledge of the following genres
Industrial, House Music, Drum & Bass, Dubstep, Electro House.
(c) DAW (Digital Audio Workstation)
(i) Definition, basic features and applications of any one Home Studio DAW of the candidate’s choice.
(ii) Definition and usage in a DAW of the following: audio samples, loops, live audio, plug-ins and
Timeline.
(iii)Applications of DAWs in Electronic Music, DJ music and new directions in music.
5. Personal Experience
Candidates should be able to write an essay (approximately 500 words) about their personal experiences
as a musician in any one of the following areas:
(a) As a solo singer or instrumentalist.
(b) Member of the school choir or orchestra.
(c) Part of a school Musical Theatre or any other production.

Note: The topics should be interpreted as widely as possible. Candidates should listen to a variety of music
within the category title. In answering questions, which require paragraph answers, candidates should refer
knowledgeably and by name, to the works to which they have listened.
Questions will be framed so as to give all candidates a chance to show the following: (i) that they have heard
works in a given category; (ii) that they know the characteristics of a particular category or kind of music;(iii)
that they are aware of the context of a particular category or kind of music; (iv) that they know the names of
prominent composers and their contribution to a particular category or kind of music.

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PART 2: PRACTICAL WORK IN MUSIC (WESTERN) - 100 MARKS
Candidates for the examination in Music (Western) will be required to have passed 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 College, London or Grade 4 or a more advanced grade of London College of Music
(or an equivalent examination approved by CISCE).
Course Work
The Practical work of candidates in Western Music in preparation for the practical examination of:
• The Associated Board of Royal School of Music: Grade 4, or a more advanced grade,
or
• Trinity College, London: Grade 4 or a more advanced grade,
or
• London College of Music: Grade 4 or a more advanced grade
(or an equivalent examination approved by CISCE), will be taken as the requirement for course work in
Western Music.
Final Test
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 College, London, Grade 4 or a more advanced grade
of London College of Music (or an equivalent examination approved by CISCE), will be taken in fulfillment
of the final test for practical work in Western Music.
Assessment
The result of the practical examination issued by 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 College, London, Grade 4 or a more
advanced grade of London College of Music (or an equivalent examination approved by CISCE) will be taken
as the assessment of Part 2 of Western Music.
* TEMPLATE FOR ANALYSIS OF SYMPHONY
• Name of the Symphony
• Key
• Composer
• Instruments used
First movement: key, time signature, tempo direction
Exposition: both themes, closing theme/coda. Brief description of motifs, important modulations and
melody/harmony/rhythm.
Development: modulations and treatment of themes
Recapitulation: Keys used, second subject remains in tonic key, bridging passage, closing theme.
Second movement: key, time signature, tempo direction
Instrumentation used
Themes, motifs, all important points of harmony, melody and orchestration
Third & Fourth movements (the symphony may have less than three or more than four movements) as given
in the above movements. All symphonic forms such as Sonata Form, Theme and Variations, Minuet and Trio,
Scherzo, Sonata-Rondo, where applicable, must be described clearly.
** TEMPLATE FOR ANALYSIS OF CONCERTO
• Definition, origin
• Name of the Concerto
• Key
• Composer
• Instruments and solo instruments used

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First movement: key, time signature, tempo direction
Description of melodic and harmonic progression, key modulations, role of solo instrument, cadenza (if used),
and Sonata Form (if used). Note: the cadenza format should be defined.
Second Movement: key, time signature, tempo direction
Description of melodic and harmonic progression, key modulations, role of solo instrument.
Third Movement: key, time signature, tempo direction
Description of melodic and harmonic progression, key modulations, role of solo instrument, cadenza (if used),
and Sonata Form (if used)
Suggested Readings:
• The Encyclopedia of Music: Max Wade- Mathews & Wendy Thompson
• The Enjoyment of Music: published by W.W. Norton & Co.
• The History of Music; From the Cambridge assignments in Music: Roy Bennett
• The Harvard Dictionary of Music: Don Michael Randel.
• The Oxford Dictionary of Music: Michael & Joyce Kennedy & Tim Rutherford - Johnson.

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INDIAN DANCE (94)
CLASSES IX AND X
There will be one paper of two hours duration carrying 100 marks and Internal Assessment of 100 marks.
Candidates will be required to select one dance style from the following: Bharatanatyam, Kathak, Odissi,
Kuchipudi, Manipuri and Kathakali. The course work and assessment for the Internal Assessment shall focus
solely on the dance style selected by the candidate. An overview of classical dance in India may be required,
along with simple comparative studies between the different dance styles, for the written Theory paper.

PART 1: THEORY – (100 MARKS)
1. Identification of different classical dance styles in India. The aesthetic appeal of each, highlighting the
distinctiveness of the individual styles, namely Bharatanatyam, Kathak, Odissi, Kuchipudi, Manipuri and
Kathakali.
2. The mythological evolution of dance and an elementary understanding of important texts like the Natya
Shastra, and story lines associated with classical dance in India. Also, an appreciation of the myths
surrounding the lives of Ganesh, Krishna, Shiva, Vishnu, etc.
3. The sociological development of dance – its history, roots, growth and revival.
4. An understanding of the guru-shishyaparampara (including the tradition and lineage associated with the
chosen dance form only).
5. Prominent exponents of the various different classical dance styles listed above.
6. An understanding of the dance repertoire and musical accompaniment (for the chosen dance style only).
7. The relevance of dance in today’s world and the modern developments in dance.

PART 2: TO BE ASSESSED INTERNALLY BY THE SCHOOL.

PRACTICAL WORK IN INDIAN DANCE - 100 MARKS
Course Work
The practical section is divided into two parts:
1) Nritya
2) Abhinaya

1. Nritya
(i) The basic body stances and positions, the neck and eye movements of the chosen dance style.
(ii) A minimum of 15 steps in Nritya to be executed in the 3 speeds of slow, medium and fast.
(iii) An understanding of the different rhythms (Tal) and the ability to perform a particular Tal in a passage
of dance.
(iv) Recitation of the Bols (syllables) and the ability to present the spoken syllables in dance.
(v) Individual presentation of a short Nritya item.

2. Abhinaya
(i) Knowledge of the Asamyuta (single hand gestures) and Samyuta (double hand gestures) used in
Abhinaya.
(ii) The Deva Hastas (Brahma, Vishnu, Shiva, Krishna, Ganesh, etc.) with their attributes.
(iii) The Dasavatar Hastas (gestures depicting the 10 avatars of Vishnu).
(iv) A basic knowledge of the Nava Rasas (nine emotions) used in dance, namely:

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(a) Shringar – love
(b) Hasya – mirth
(c) Karuna – compassion
(d) Roudra – anger
(e) Veera – strength
(f) Bhayanaka – fear
(g) Bhibatsa – disgust
(h) Adbuta – wonder
(i) Shantam – peace
(v) Individual presentation of a short item of Abhinaya.
Assessment
1. The teacher and the External Examiner will assess the practice and performance of candidates.
2. 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 Indian Dance of
Class VIII may be deputed to be an External Examiner for Class X, Indian Dance Projects.
The Internal Examiner and the External Examiner will assess the assignments independently.
Award of Marks (100 Marks)
Subject Teacher (Internal Examiner) 50 marks
External Examiner 50 marks
The total marks obtained out of 100 are to be sent to CISCE by the Head of the school.
The Head of the school will be responsible for the online entry of marks on CISCE’s CAREERS portal by the
due date.

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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 unnatural.
each part 2
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 carrying100 marks and Internal Practical Assessment of 100
marks.

PART 1: THEORY – (100 MARKS)
The syllabus is divided into two Sections:
Section A – Drama as Art
Section B – Technical aspects of Drama
SECTION A
Candidates will be required to evaluate and analyse material as part of a drama process. Resource material would
be provided in each question in the form of extracted pieces from plays, themes, situations or pictures. The
resource materials are expected to form stimuli that would be used by candidates to answer the question. Answers
can be in the form of a written commentary and may be accompanied by sketches, diagrams and notes as required.
Candidates would be permitted to creatively add dialogue to the prompt provided for each question.
Candidates will be expected to have an appreciation of the following elements:
1. Use of people, space and conflict in drama.
(a) Brief history of Greek theatre, festivals, playwrights
(b) Brief on Dramatic Structure, Freytag’s Pyramid, Aristotle.
2. The function of the director.
Types of Directorial styles.
3. The actor – basic techniques of acting
(a) Body, voice, role
(b) Brief on Method Acting
(c) Principles of Movement for actors
4. Movement and approaches
(a) Body positions
(b) Stage Directions: 9 zones
(c) Blocking
(d) Turns and gestures
(e) Entries and Exits
5. The stage
(a) Various parts on and off stage: Greenrooms,
Cyclorama, Wings, FOH, Curtains, flats, battons, teasers
(b) Sightlines, the ‘point of power’.
(c) Types of staging (Proscenium, Thrust, Central, Traverse, Black box, Site Specific, Promenade).
6. Indian folk theatre: The Natyashastra, Nautanki, Kathakali, Yakshagana, Ramlila, Jatra, Tamaasha, Bhaona

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7. Puppetry: Types (Hand, Glove, Bunraku, Marionette, Togalu Gombayaata, Katputli)
8. Street Theatre: Brief history, Indian context, creative application.
9. Children’s Theatre: Brief history, creative application
10. Composition in Theatre: Relation to blocking, devices, application
11. Picturisation in Theatre: Purpose, objective, mood, application
12. Rhythm: Internal, External, Speech application for actors.
13. Dramatisation: definition, purpose
14. Literature: Summary, characters, and conflict in Caucasian Chalk Circle (by Berthold Brecht), and Antigone
(by Sophocles). Julius Caesar (by William Shakespeare) may be used for applicatory assessment of theatre
elements.
SECTION B
Candidates will be expected to have working knowledge of the technical skills used by directors, actors, and
designers (sets, costumes, make-up, lighting and sound). Questions will be set using resource material as a basis
for technical design – candidates will be permitted to use sketches, notes and diagrams as part of their answers.
Candidates will be expected to have an appreciation of the following elements:
1. Use of the stage: Application of theatre elements
(a) Set design: role of a set designer, stage balance
(b) Blocking, Creative applications of body positions & stage directions
2. The production process:
(a) Scripting
(b) Auditions & Casting
(c) Rehearsals: Types
(d) Technical aspects: costumes, sound, lights, set design, LED walls or projection systems.
3. Sets: including parts of stage equipment used in a set, Furniture and props, special effects apparatus.
4. Properties: types of props, application
5. Lighting
(a) Types of lighting lanterns (include modern programmable LED lights)
(b) Relation between lighting and mood
(c) Purpose of lighting: Illumination, Sculptural, Selective, Atmospheric, Fluid
(d) Role of a lighting designer
(e) Stage Rigging for lights, Consoles
6. Sound
(a) Types of basic sound equipment and usage
(b) Influence of music in theatre
(i) Sound reinforcement, equipment
(ii) Establishing settings, Spot effects, Transitional Sound, Atmospheric effects
(iii) Incidental music, Overture, Framing effect

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(iv) Role of a sound designer
7. Costumes
(a) Period costumes, brief history of Elizabethan and Victorian costumes.
(b) Importance of costumes
(c) Role of Costume designer
8. Make-up
(a) Uses
(b) Types of make-up (including design).
9. Stage management.
(a) Functions of a Stage manager
(b) Prompt book or working script

PART 2: To be assessed internally by the School.

PRACTICAL WORK IN DRAMA - 100 MARKS
Course Work
The practical section is divided into two parts - Acting and Stagecraft. Candidates may choose either ONE for
their practical assessment.
Acting: Candidates will be required to practise and perform as actors. This practical and performance may be
undertaken either as acting an original piece or acting a piece/extract from a play, book or film. The practical work
of candidates will be assessed by the teacher and by an External Examiner.
The teacher is free to assess the course work either on the basis of continuous assessment or on the basis of
periodical tests. Where a candidate has personally taken part in performance, video recorded evidence and reviews
may be submitted for the assessment by the External Examiner.
1. Stagecraft: Candidates will be required to create a stagecraft model based on a scene from play, book or film.
Candidates will be tested in one or more elements of the stagecraft model, by the teacher and by an External
Examiner. Photographs, designs and video tapes may be submitted for the assessment by the External
Examiner where the candidate has prepared a design for a performance.
Assessment
1. The teacher and the External Examiner will assess the practice and performance of candidates.
2. 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 Drama of Class VIII may be
deputed to be an External Examiner for Class X Drama Projects.
The Internal Examiner and the External Examiner will assess the assignments independently.

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Award of Marks (100 Marks)
Subject Teacher (Internal Examiner) 50 marks
External Examiner 50 marks
The total marks obtained out of 100 are to be sent to CISCE by the Principal of the school.
The Head of the school will be responsible for the online entry of marks on CISCE’s CAREERS portal by the due
date.

23

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 mostly appropriate to the
each part 6
natural. natural. effective. occasion and role.
marks

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

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