ICSE Class 10 Syllabus 2024 Performing Arts

ICSE
Syllabus

2024

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Syllabus

PERFORMING ARTS (91 – 95)
Aims: 5. To develop a co-operative attitude through the
organisation and participation associated with
1. To develop a perceptive, sensitive and critical music, dance and drama.
response to music, dance and drama in its
historical and cultural contexts. 6. To provide an appropriate body of knowledge
with understanding, and to develop appropriate
2. To stimulate and develop an appreciation and skills as a basis for further study or leisure or
enjoyment of music, dance and drama through both.
active involvement.
One of the following five syllabuses may be
3. To balance the demands of disciplined skills offered:
and challenging standards in an environment of
emotional, aesthetic, imaginative and creative Hindustani Music (91)
development. Carnatic Music (92)
4. To develop performing skills, and so encourage Western Music (93)
a participation in the wide range of performance Indian Dance (94)
activities likely to be found in the school and Drama (95)
community.
HINDUSTANI MUSIC (91)
CLASS IX

There will be one paper of two hours duration Khayal (BadaKhayal and ChotaKhayal),
carrying 100 marks and Internal Assessment of 100 Dhrupad.
marks. 2. Description of the five ragas mentioned under
The syllabus is divided into three sections: ‘practical’ – their Thaat, Jati, Vadi-Samvadi,
Section A - Vocal Music Swaras (Varjit and Vikrit), Aroha-Avaroha,
Pakad, time of raga and similar raga.
Section B - Instrumental Music
3. Description of the five taals mentioned under
Section C - Tabla ‘practical’; writing them in Thah and DugunTaal
Candidates will be required to attempt five questions notation.
in all, two questions from Section A and either three 4. Knowledge of musical notation system of Pt.
questions from Section B or three questions from V.N. Bhatkhande (Swara and Taal-lipi); writing
Section C. ChotaKhayal, Swarmalika and Lakshangeet,
Dhrupad (only Sthayi and Antara) in musical
PART 1: THEORY – 100 Marks notation.
SECTION A: HINDUSTANI VOCAL MUSIC 5. Identification of ragas with the help of given short
1. (a) Non-detail terms: Sangeet; two main systems Swara-vistar.
of Indian Music; Naad, Saptak; Thaat; 6. Life and contribution in brief of Tansen and Pt.
Alankar; Raga, Janak-Janya Ragas and V.N. Bhatkhande.
Ashraya raga; Vadi, Samvadi, Anuvadi,
Vivadi; Aroha, Avaroha, Pakad; Chal and PRACTICAL
AchalSwara.
1. Singing and identifying Shuddha and
Sthayi, Antara; Taan, Alaap; Matra, Vibhag,
VikritSwaras.
Taal, Avartan, Sam, Tali, Khali, Theka; Thah
(Barabar or Ekgun), Dugun, Chaugun. 2. Idea of Laya; Vilambit, Madhya and Drutlayas.
(b) Detailed topics: Swara (Shuddha and 3. Singing of 10 alankars in Dugun and Chaugun
VikritSwars), Jati (Odava, Shadava, Laya.
Sampoorna), Laya (Vilambit, Madhya, Drut),
Varna (Sthai, Arohi, Avarohi, Sanchari), 4. Yaman, Khamaj, Kafi, Bhairavi, Alhaiya Bilawal
Forms of Geet – Swaramalika, Lakshangeet, - Singing of one Madhya laya khayal song in any

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three ragas as mentioned above (with alaaps and 3. Yaman, Khamaj, Kafi, Bhairavi, AlhaiyaBilawal
taans). Lakshangeet and Swarmalika in the other – Playing of one Razakhani Gat in all the ragas as
two ragas, One Dhrupad Geet in any one raga mentioned above (with alaaps and todas). Dhun in
(Only sthai and antara); National Anthem - Jana any raga mentioned above. National Anthem-Jana
Gana Mana and National Song - VandeMataram Gana Mana and National Song – Vande Mataram
(notation is not required). (notation is required).
5. Padhant (Reciting): Thekas of the following five 4. Padhant (Reciting) - Thekas of the following five
taals with Taali, Khali shown on hands: Teen taals with Taali, Khali shown on hands: Teen
Taal, Keharwa, Dadra, Ektaal and Chartaal; their Taal, Keharwa, Dadra, Ektaal and Chartaal; their
Dugun also. Dugun also.
6. Identification of ragas. 5. Identification of ragas.
SECTION B 6. Playing of simple Bols like Da Ra Da Ra, Da Ra
HINDUSTANI INSTRUMENTAL MUSIC Dir Dir, Da Dir, Da Ra, etc.
(EXCLUDING TABLA) SECTION C
THEORY HINDUSTANI INSTRUMENTAL MUSIC
1. (a) Non-detail terms: Sangeet; two main systems (PERCUSSION - TABLA)
of Indian Music; Naad, Saptak; Thaat; THEORY
Alankar; Raga, Janak-Janya Ragas and 1. (a) Non-detail terms: Matra, Taal,Vibhag; Sam;
Ashraya raga; Vadi, Samvadi, Anuvadi, Tali, Khali, Avartan, Theka, Kayada, Palta,
Vivadi; Aroha, Avaroha, Pakad;Chal and Tihai, Mohra, Mukhada, Tukda, Kismen
AchalSwar. (varieties of Theka) and Peshkara.
Chal and AchalThaat, Toda, Alaap; Matra, (b) Detailed topic: Laya (Vilambit, Madhya and
Vibhag, Taal, Avartan, Sam, Taali, Khali, Drut), Layakari (Thah, Dugun, Tigun and
Theka; Thah (Barabar or Ekgun), Dugun, Chaugun), Origin and development of Tabla.
Chaugun.
2. Writing in Taal-notation of the six Taals
(b) Detailed topics: Swara (Shuddha and mentioned under ‘practical’; with their simple
VikritSwars), Jati (Odava, Shadava, development; writing of Thekas in Thah, Dugun
Sampoorna), Laya (Vilambit, Madhya, Drut), and Chaugun layakaris.
Varna (Sthai, Arohi, Avarohi, Sanchari),
Forms of Gat (Maseetkhani and Razakhani). 3. Basic knowledge of: Sangeet,Swara and Saptak,
2. Description of the five ragas mentioned under PRACTICAL
‘practical’ – their Thaat, Jati, Vadi-Samvadi, 1. Knowledge and practice of Vilambit, Madhya and
Swaras (Varjit and Vikrit), Aroha-Avaroha, Drut layas as also of Thah, Dugun and Chaugun,
Pakad, time of raga and similar raga. with the help of Tali, Khali and matras on hands
3. Description of the five taals mentioned under while reciting Thekas of Taals prescribed.
‘practical’; writing them in Thah and Dugun in 2. Technique of producing main syllables of Tabla
Taal notation. and Bayan (Varnas) like Ta, Dha, Ge, Kat, Tin,
4. Knowledge of musical notation system of Pt. Dhin, Tita etc.
V.N. Bhatkhande (swara and Taal-lipi); writing 3. Playing of Thekas of the following six Taals with
Razakhani Gat (with Bols). development: two kaayadas and its four paltas
5. Identification of ragas with the help of given short with tihai in Teentaal, One tukda in each Jhaptaal
swara-vistar. and Ektaal, one paran in chaartaal, two kismen
6. Life and contribution in brief of Tansen and Pt. each in Dadra and KeharwaTaal.
V.N. Bhatkhande. 4. Accompaniment (Sangat) in Taals (Dadra and
PRACTICAL Keharwa).
1. Handling of the instrument; correct posture and 5. Padhant (Reciting) - Thekas in Thah and Dugun.
finger movement. Simple developments of Taals mentioned in para
(3), showing Taali, Khali etc. on hands.
2. Playing of 10 alankars in Thah, Dugun and
Chaugun.

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CLASS X

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

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3. Padhant (Reciting)-Thekas of the following new Course Work
taals as also those learnt in Class IX in Dugun 1. Candidates will be required to practice and
and Chaugun, showing Tali, Khali and Matras on perform singing or playing. This performance
hands: Rupak,Jhaptal, Tilwada, Dhamar and may be undertaken in connection with the topics
Deepchandi (Chanchar). suggested below. The practical work of
4. Identification of ragas learnt in Classes IX and X. candidates will be assessed by the teacher as
course work. The teacher is free to assess the
SECTION C course work either on the basis of continuous
HINDUSTANI INSTRUMENTAL MUSIC assessment or on the basis of periodical tests.
(PERCUSSION - TABLA) 2. Suggested topics for practical work:
THEORY (i) Individual performances,
1. (a) Non-detail terms: Names of 10 Pranas, (ii) Practice for school functions,
AadiLaya (Only in Dadra and Keharwa), (iii)Performance in a group of either players or
Lehra (Nagma), Paran, Uthan, Chakkardar singers, not necessarily in school,
Tukda, Dumdar and Bedum Tihai, Gat,
(iv)Prepare a Power Point presentation on an
Padhant,
eminent vocalist or instrumentalist.
(b) Detailed topics: Origin and development of
(v) A visit to a sound recording studio.
Tabla, Basic 10 Varnas (Syllables) of Tabla,
Taal Jaati System, Solo and Sangat. 3. In addition to the course work the candidates will
be tested in singing or playing one instrument by
2. Brief description of four eminent percussionist
an External Examiner.
(present or recent past).
Assessment
3. Writing in Taal notation, Thekas, in Thah,
Dugun, Tigun and Chaugun, of all Taals learnt in 1. The teacher and the External Examiner will
Class IX and X. assess the practice and performance of
candidates.
4. Names of different parts (components) of the
Tabla with the help of a simple sketch. Tuning of 2. The following aspects of practice and
the instrument. performance should be taken into consideration:
5. Identification of Taals (a few bol combinations (i) Musical performance, Expression, Diction,
given) of Classes IX and X. Tonal quality, Breath control;
PRACTICAL (ii) Accuracy;
1. Technique of producing bols on Tabla like Tirkit, (iii)Style and interpretation.
Kran, etc. 3. The External Examiner may be a teacher
2. Development of following Taals: Teental – 1 nominated by the Head of the school, who could
uthan, 2 new kaydas and its 4 paltas with tihai, 1 be from the faculty, but not teaching the
Rela, 1 Chakardaar Tukda, 1 Damdar and Bedam subject in the section/class. For example, a
Tihai, Roopak – 1 Tihai, Sooltaal – 1 Tihai, teacher of Music of Class VIII may be deputed to
Teevra Taal – 1 Paran, Deepchandi Taal, Tilwada be an External Examiner for Class X, Music
Taal (only Theka). Projects.
3. Padhant (Reciting)- Thekas of all Taals of Class The Internal Examiner and the External Examiner
IX and X with development mentioned in para will assess the assignments independently.
(2), giving Tali, Khali etc. by hands in Dugun Award of Marks (100 Marks)
and Chaugun. Subject Teacher (Internal Examiner) 50 marks
4. Ability to accompany with vocalist and External Examiner 50 marks
instrumentalist with development.
The total marks obtained out of 100 are to be sent to
PART 2: (To be assessed internally by the School in the Council by the Head of the school.
Class X).
The Head of the school will be responsible for the
Practical Work in Music (Hindustani) - 100 online entry of marks on the Council’s CAREERS
Marks portal by the due date.

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INTERNAL ASSESSMENT IN HINDUSTANI MUSIC - GUIDELINES FOR MARKING WITH GRADES
Criteria Purity of Swar Laya Knowledge of raga/taal 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 reveal a presentation of melody and
each part 8
pitch and note variations. Can build a solid appropriate feeling. Moves thorough knowledge of raga rhythm. Accurate
marks production is foundation for musical within the confines of the attributes and of the conception of pitch, correct
similarly perfect. variation. 'taal' structure. structure of the taal in identification of raga and
general. taal.
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 taal. 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 shows Uninspiring, but adequate
of pitch with a maintenance of the taal's in the most limited poor knowledge of concepts bookish presentation of
each part 4
satisfactory ability to speed. However somehow pathways. Has difficulty like 'alankara' and 'varna'. course material. Erratic
marks project musical notes. strives to manage the laya. knowing his/her position sense of pitch. Shaky
vis-a-vis the taal. knowledge of raga and taal.

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 to basic required idioms of
each part 2
both tone and pitch increases or decreases the often out of rhythm and has VadiSamvadi or Tali, Khali melody and rhythmic cycle.
marks concepts. Sometimes speed and cannot perform little knowledge of the of Raga and Taal. Poor concept of pitch, taal,
goes off scale. even 'Dugun' in proper time. dynamics of taal. and raga.

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 elements with poorly stated phrases, musical effect of any sort.
each part 0
pitch. Rendition is Cannot maintain the rhythm of of rag and taal. broken in pitch and rhythms. Cannot keep a tune or
marks off-key. simple melodies. maintain tempo. No concept
of raga or taal.

185

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

186

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

187

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 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. 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 rag 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.

188

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;
Section A - Musical Instruments Analysis of any one symphony of the
Section B - Forms and Analsis of Music candidate’s choice. (* format for analysis
for symphony given at the end of the
Candidates will be required to attempt nine syllabus.)
questions in all, five questions from Section A all of
which are compulsory and any four questions from (b) Concerto
Section B. Definition, structure (form); Analysis of any
SECTION A: MUSICAL INSTRUMENTS one Concerto (of the Classical or Romantic
period) of the candidate’s choice (** format
1. Musical Instruments: Sound production and for analysis for Concerto given at the end of
playing techniques of the following families of the syllabus.)
instruments:
(c) Jazz
(a) Keyboard family:
Origin, characteristics, instrumentation,
Harpsichord, clavichord and acoustic Genres of Jazz: New Orleans, Swing,
pianoforte. Bebop.
(b) Pipe Organ (d) Popular Music
(c) The String family: Life, works, style and reasons for popular
Violin, Viola, Violoncello, Double Bass. appeal of any solo artiste (vocal or
(d) The Guitar family: instrumental) and / or band of the
candidate’s choice. Genres of music may
Classical, Spanish, Hawaiian guitars. include but are not limited to:
(e) Woodwind family: Folk, Country, Gospel, Soul, Reggae, Pop,
Flute, Piccolo, Oboe, Clarinet, Cor Anglais, Rock, R&B, Hip Hop, Electronic Music.
Bassoon, Saxophone. 3. Life and Works
(f) Brass Family: (a) Life & 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
Ellington, George Gershwin, Miles Davis.
• Candidates are expected to know the tuning
notes and clefs of the following: The String Note:
family and The Guitar family. They will be Candidates are expected to write an essay of
expected to be able to write these on staff approximately 500 words on the life, works and
notation, beginning with the lowest in pitch. contribution of the composer/s and/or exponents
They are expected to know the range of any one mentioned above.
woodwind and any one brass instrument of their 4. Technology in Music
choice.
(a) Electronic Music
• Any TWO Similarities and TWO differences
between members of the same family, for Definition and scope of Electronic Music;
example e.g.: oboe & clarinet; flute & piccolo, description of the Theremin and the Moog
trombone & tuba, etc. Synthesizer.

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(b) Basic knowledge of the following genres Course Work
Industrial, House Music, Drum & Bass, The Practical work of candidates in Western Music
Dubstep, Electro House. in preparation for the practical examination of:
(c) DAW (Digital Audio Workstation) ­ The Associated Board of Royal School of
(i) Definition, basic features and applications Music: Grade 4, or a more advanced grade,
of any one Home Studio DAW of the or
candidate’s choice. ­ Trinity College, London: Grade 4 or a more
(ii) Definition and usage in a DAW of the advanced grade,
following: audio samples, loops, live or
audio, plug-ins and Timeline.
­ London College of Music: Grade 4 or a more
(iii) Applications of DAWs in Electronic Music, advanced grade
DJ music and new directions in music.
(or an equivalent examination approved by the
5. Personal Experience Council), will be taken as the requirement for
Candidates should be able to write an essay course work in Western Music.
(approximately 500 words) about their personal Final Test
experiences as a musician in any one of the
following areas: The practical examination of the Associated Board
of Royal School of Music, Grade 4, or a more
(a) As a solo singer or instrumentalist. advanced grade, or Grade 4 or a more advanced
(b) Member of the school choir or orchestra. Grade of Trinity College, London, Grade 4 or a
(c) Part of a school Musical Theatre or any other more advanced grade of London College of
production. Music (or an equivalent examination approved by
the Council), will be taken in fulfillment of the final
Note: The topics should be interpreted as widely as test for practical work in Western Music.
possible. Candidates should listen to a variety of
music within the category title. In answering Assessment
questions, which require paragraph answers, The result of the practical examination issued by the
candidates should refer knowledgeably and by Associated Board of Royal School of Music, Grade
name, to the works to which they have listened. 4, or a more advanced grade, or Grade 4 or a more
Questions will be framed so as to give all candidates advanced grade of Trinity College, London, Grade 4
a chance to show the following: (i) that they have or a more advanced grade of London College of
heard works in a given category; (ii) that they know Music (or an equivalent examination approved by
the characteristics of a particular category or kind of the Council) will be taken as the assessment of
music; (iii) that they are aware of the context of a Part 2 of Western Music.
particular category or kind of music; (iv) that they * TEMPLATE FOR ANALYSIS OF
know the names of prominent composers and their SYMPHONY
contribution to a particular category or kind of - Name of the Symphony
music.
- Key
PART 2: PRACTICAL WORK IN MUSIC
- Composer
(WESTERN)
- Instruments used
- 100 Marks
First movement: key, time signature, tempo
Candidates for the examination in Music (Western)
direction
will be required to have passed the Practical
Examination of the Associated Board of Royal Exposition: both themes, closing theme/coda. Brief
School of Music, Grade 4, or a more advanced description of motifs, important modulations and
grade or Grade 4 or a more advanced Grade of melody/harmony/rhythm.
Trinity College, London or Grade 4 or a more Development: modulations and treatment of themes
advanced grade of London College of Music (or an Recapitulation: Keys used, second subject remains
equivalent examination approved by the Council). in tonic key, bridging passage, closing theme.

190

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

191

INDIAN DANCE (94)
CLASSES IX AND X

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

192

Assessment The Internal Examiner and the External Examiner
will assess the assignments independently.
1. The teacher and the External Examiner will
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.

193

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

194

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
pieces from plays, themes, situations or printed visual 1. Use of the stage and emphasis through set design,
sequences. The resource materials are expected to positions, compositions and movement; Blocking
form stimuli that would be used by candidates to and its relation to the composition.
answer the question. Answers can be in the form of a
written commentary and may be accompanied by 2. The production process; Rehearsals.
sketches, diagrams and notes as required. Candidates 3. Equipment - from auditorium to backstage; Sets
would be permitted to creatively add dialogue to the (including parts of stage equipment used in a
stimuli provided for each question. set); Properties.
Candidates will be expected to have an appreciation 4. Lighting and sound – equipment and design.
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)
3. The actor – basic technique (Stage positions; and their effect on technical aspects of a
Body positions used by actors - in relation to the production.
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
staging, street theatre, folk theatre, puppetry). The practical section is divided into two parts -
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
195

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.

196

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

197