ICSE Class 9 Syllabus 2027 Performing Arts

ICSE YEAR 2027

INDIAN CERTIFICATE OF
SECONDARY EDUCATION
EXAMINATION

PERFORMING ARTS
(91-95)

February 2025
____________________________________________________________________________________________

© Copyright, Council for the Indian School Certificate Examinations
All rights reserved. The copyright to this publication and any part thereof solely vests in the Council for the Indian
School Certificate Examinations. This publication and no part thereof may be reproduced, transmitted, distributed or
stored in any manner whatsoever, without the prior written approval of the Council for the Indian School Certificate
Examinations.

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

1

3. Singing of 10 alankars in Dugun and Chaugun 6. Life and contribution in brief of Tansen and Pt.
Laya. V.N. Bhatkhande.
4. Yaman, Khamaj, Kafi, Bhairavi, Alhaiya Bilawal PRACTICAL
- Singing of one Madhya laya khayal song in any 1. Handling of the instrument; correct posture and
three ragas as mentioned above (with alaaps and finger movement.
taans). Lakshangeet and Swarmalika in the other
2. Playing of 10 alankars in Thah, Dugun and
two ragas, One Dhrupad Geet in any one raga
Chaugun.
(Only sthai and antara); National Anthem - Jana
Gana Mana and National Song - VandeMataram 3. Yaman, Khamaj, Kafi, Bhairavi, AlhaiyaBilawal
(notation is not required). – Playing of one Razakhani Gat in all the ragas as
mentioned above (with alaaps and todas). Dhun in
5. Padhant (Reciting): Thekas of the following five
any raga mentioned above. National Anthem-Jana
taals with Taali, Khali shown on hands: Teen
Gana Mana and National Song – Vande Mataram
Taal, Keharwa, Dadra, Ektaal and Chartaal; their
(notation is required).
Dugun also.
4. Padhant (Reciting) - Thekas of the following five
6. Identification of ragas.
taals with Taali, Khali shown on hands: Teen
SECTION B Taal, Keharwa, Dadra, Ektaal and Chartaal; their
Dugun also.
HINDUSTANI INSTRUMENTAL MUSIC
5. Identification of ragas.
(EXCLUDING TABLA)
6. Playing of simple Bols like Da Ra Da Ra, Da Ra
THEORY Dir Dir, Da Dir, Da Ra, etc.
1. (a) Non-detail terms: Sangeet; two main systems SECTION C
of Indian Music; Naad, Saptak; Thaat;
Alankar; Raga, Janak-Janya Ragas and HINDUSTANI INSTRUMENTAL MUSIC
Ashraya raga; Vadi, Samvadi, Anuvadi, (PERCUSSION - TABLA)
Vivadi; Aroha, Avaroha, Pakad;Chal and
AchalSwar. THEORY
Chal and AchalThaat, Toda, Alaap; Matra, 1. (a) Non-detail terms: Matra, Taal,Vibhag; Sam;
Vibhag, Taal, Avartan, Sam, Taali, Khali, Tali, Khali, Avartan, Theka, Kayada, Palta,
Theka; Thah (Barabar or Ekgun), Dugun, Tihai, Mohra, Mukhada, Tukda, Kismen
Chaugun. (varieties of Theka) and Peshkara.
(b) Detailed topics: Swara (Shuddha and (b) Detailed topic: Laya (Vilambit, Madhya and
VikritSwars), Jati (Odava, Shadava, Drut), Layakari (Thah, Dugun, Tigun and
Sampoorna), Laya (Vilambit, Madhya, Drut), Chaugun), Origin and development of Tabla.
Varna (Sthai, Arohi, Avarohi, Sanchari), 2. Writing in Taal-notation of the six Taals
Forms of Gat (Maseetkhani and Razakhani). mentioned under ‘practical’; with their simple
2. Description of the five ragas mentioned under development; writing of Thekas in Thah, Dugun
‘practical’ – their Thaat, Jati, Vadi-Samvadi, and Chaugun layakaris.
Swaras (Varjit and Vikrit), Aroha-Avaroha, 3. Basic knowledge of: Sangeet,Swara and Saptak,
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.

2

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

3

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
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-

4

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

5

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.

6

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.

7

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.

CLASS X
PART 1: There will be one written paper of PART 2: (To be assessed internally by the School in
two hours duration carrying 100 marks. Class X).
1. History of Carnatic music with special reference Practical Work in Music (Carnatic) -- 100 Marks
to the following composers and theorists,
Course Work
including their biographies and their contribution
to Carnatic music: (1) Thyagaraja, 1. Candidates will be required to practice and
(2) Syama Sastry, (3) Muthuswami Dikshitar, perform singing or playing one or more musical
(4) Jayadeva, (5) Narayana Tirtha, instruments such as Tabla, Violin, etc. This
(6) Purandaradas, (7) Bhadrachala Ramadas , practical and performance may be undertaken in
(8) Kshetrajna, (9) Arunachala Kavirayar, (10) connection with the topics suggested below. The
Veena Kuppayyar, (11) Patnam Subramaina Iyer, practical work of candidates will be assessed by
(12) Gopal Krishna Bharati. the teacher as course work. The teacher is free to
assess the course work either on the basis of
2. Classification of musical instruments into string, continuous assessment or on the basis of
wind and percussion group. A general periodical tests.
knowledge of Vina, Violin, Gottuvadyam,
Tambura, Flute and Mridangam - Training of 2. Suggested topics for practical work:
human voice and compass of the concert (i) Individual performances, (ii) Practice for
instruments in South India. school functions. (iii) Performance in a group of
either players or singers, not necessarily in
3. Musical sound and voice - Pitch, intensity, and school, (iv) Making a musical instrument.
timbre - Sympathetic vibration - Resonance -
Echoes - Musical intervals - Modal shift of tonic 3. In addition to the course work the candidates will
i.e. Grahabhedam. be tested in singing or playing one instrument by
an External Examiner. Where a candidate has
chosen to make a musical instrument, the

8

instrument may be put up for inspection by the The Internal Examiner and the External Examiner
External Examiner. Where a candidate has will assess the assignments independently.
personally taken part in performance, tape
Award of Marks (100 Marks)
recorded evidence may be submitted for the
assessment by the External Examiner. Subject Teacher (Internal Examiner) 50 marks
Assessment External Examiner 50 marks
1. The teacher and the External Examiner will The total marks obtained out of 100 are to be sent to
assess the practice and performance of the CISCE by the Head of the school.
candidates. The Head of the school will be responsible for the
2. The following aspect of practice and performance online entry of marks on the CISCE’s CAREERS
should be taken into consideration: (i) Musical portal by the due date.
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.

9

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.

10

WESTERN MUSIC (93)
CLASSES IX AND X
There will be one paper of two hours duration
carrying 100 marks and Internal Assessment of SECTION B: FORMS AND ANALYSIS OF
100 marks. MUSIC
PART 1: THEORY – (100 Marks) 2. Forms of Music
The syllabus is divided into two Sections: (a) Symphony
Section A - Musical Instruments Definition, structure (form), Sonata Form;
Section B - Forms and Analysis of Music Analysis of any one symphony of the
SECTION A: MUSICAL INSTRUMENTS candidate’s choice. (* format for analysis
for symphony given at the end of the
1. Musical Instruments: Sound production and syllabus.)
playing techniques of the following families of
instruments: (b) Concerto
(a) Keyboard family: Definition, structure (form); Analysis of any
one Concerto (of the Classical or Romantic
Harpsichord, clavichord and acoustic period) of the candidate’s choice (** format
pianoforte. for analysis for Concerto given at the end of
(b) Pipe Organ the syllabus.)
(c) The String family: (c) Jazz
Violin, Viola, Violoncello, Double Bass. Origin, characteristics, instrumentation,
(d) The Guitar family: Genres of Jazz: New Orleans, Swing,
Bebop.
Classical, Spanish, Hawaiian guitars.
(d) Popular Music
(e) Woodwind family:
Life, works, style and reasons for popular
Flute, Piccolo, Oboe, Clarinet, Cor Anglais, appeal of any solo artiste (vocal or
Bassoon, Saxophone. instrumental) and / or band of the
(f) Brass Family: candidate’s choice. Genres of music may
Trumpet, French Horn, Trombone, Tuba. include but are not limited to:
(g) Percussion family Folk, Country, Gospel, Soul, Reggae, Pop,
Rock, R&B, Hip Hop, Electronic Music.
Timpani (Kettle Drums), Bass Drum, Snare
Drum, Tambourine, Tubular Bells, 3. Life and Works
Xylophone, Glockenspiel. (a) Life & works and unique contribution of the
Note: following composers:
• Candidates are expected to know the tuning J.S Bach, G.F Handel, J. Haydn, W.A
notes and clefs of the following: The String Mozart, L.van Beethoven, F. Schubert, P.I
family and The Guitar family. They will be Tchaikovsky, J. Brahms, A. Dvořák.
expected to be able to write these on staff (b) Life, works and style of the following
notation, beginning with the lowest in pitch. exponents of Jazz; Louis Armstrong, Duke
They are expected to know the range of any one Ellington, George Gershwin, Miles Davis.
woodwind and any one brass instrument of their Note:
choice.
Candidates are expected to write an essay of
• Any TWO Similarities and TWO differences approximately 500 words on the life, works and
between members of the same family, for contribution of the composer/s and/or exponents
example e.g.: oboe & clarinet; flute & piccolo, mentioned above.
trombone & tuba, etc.

11

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

12

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.

13

INDIAN DANCE (94)
CLASSES IX AND X
There will be one paper of two hours duration Course Work
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,
Odissi, Kuchipudi, Manipuri and Kathakali. The 1. Nritya
course work and assessment for the Internal (i) The basic body stances and positions, the
Assessment shall focus solely on the dance style neck and eye movements of the chosen
selected by the candidate. An overview of classical dance style.
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.
PART 1: Theory – (100 Marks) (iii) An understanding of the different rhythms
(Tal) and the ability to perform a particular
1. Identification of different classical dance styles
Tal in a passage of dance.
in India. The aesthetic appeal of each,
(iv) Recitation of the Bols (syllables) and the
highlighting the distinctiveness of the
ability to present the spoken syllables in
individual styles, namely Bharatanatyam,
dance.
Kathak, Odissi, Kuchipudi, Manipuri and (v) Individual presentation of a short Nritya
Kathakali. item.
2. The mythological evolution of dance and an
elementary understanding of important texts 2. Abhinaya
like the Natya Shastra, and story lines (i) Knowledge of the Asamyuta (single hand
associated with classical dance in India. Also, gestures) and Samyuta (double hand
an appreciation of the myths surrounding the gestures) used in Abhinaya.
lives of Ganesh, Krishna, Shiva, Vishnu, etc. (ii) The Deva Hastas (Brahma, Vishnu, Shiva,
3. The sociological development of dance – its Krishna, Ganesh, etc.) with their attributes.
history, roots, growth and revival. (iii) The DasavatarHastas (gestures depicting
4. An understanding of the guru- the 10 avatars of Vishnu).
shishyaparampara (including the tradition and (iv) A basic knowledge of the Nava Rasas (nine
lineage associated with the chosen dance form emotions) used in dance, namely:
only). (a) Shringar – love
5. Prominent exponents of the various different (b) Hasya – mirth
classical dance styles listed above.
(c) Karuna – compassion
6. An understanding of the dance repertoire and
(d) Roudra – anger
musical accompaniment (for the chosen dance
style only). (e) Veera – strength
7. The relevance of dance in today’s world and (f) Bhayanaka – fear
the modern developments in dance. (g) Bhibatsa – disgust
PART 2: To be assessed internally by the School. (h) Adbuta – wonder
Practical Work in Indian Dance - 100 Marks (i) Shantam – peace
(v) Individual presentation of a short item of
Abhinaya.

14

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 CISCE 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 CISCE’s CAREERS
deputed to be an External Examiner for Class portal by the due date.
X, Indian Dance Projects.

15

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

16

DRAMA (95)
CLASSES IX AND X
There will be one paper of two hours duration SECTION B
carrying 100 marks and Internal Assessment of
100 marks. Candidates will be expected to have working
knowledge of the technical skills used by directors,
PART 1: THEORY – (100 Marks)
actors, and designers (sets, costumes, make-up,
The syllabus is divided into two Sections: lighting and sound). Questions will be set using
Section A – Drama as Art resource material as a basis for technical design –
Section B – Technical aspects of Drama candidates will be permitted to use sketches, notes
and diagrams as part of their answers.
SECTION A
Candidates will be expected to have an appreciation
Candidates will be required to evaluate and analyse
material as part of a drama process. Resource of the following elements:
material would be provided in each question in the 1. Use of the stage and emphasis through set design,
form of extracted pieces from plays, themes, positions, compositions and movement; Blocking
situations or printed visual sequences. The resource and its relation to the composition.
materials are expected to form stimuli that would be
used by candidates to answer the question. Answers 2. The production process; Rehearsals.
can be in the form of a written commentary and may 3. Equipment - from auditorium to backstage; Sets
be accompanied by sketches, diagrams and notes as
(including parts of stage equipment used in a
required. Candidates would be permitted to
creatively add dialogue to the stimuli provided for set); Properties.
each question. 4. Lighting and sound – equipment and design.
Candidates will be expected to have an appreciation 5. Costumes and make-up (including design).
of the following elements: 6. Stage management.
1. Use of people, space and conflict in drama. 7. Different types of staging (as given in Section A)
2. The function of the director. and their effect on technical aspects of a
production.
3. The actor – basic technique (Stage positions;
Body positions used by actors - in relation to the PART 2: To be assessed internally by the School.
audience and to other actors; Turns and gestures;
Movement and approaches; Entering and exiting; Practical Work in Drama - 100 Marks
Handling of properties), body, voice and role. Course Work
4. The stage – its various parts and different types The practical section is divided into two parts -
of staging (proscenium arch theatre, central Acting and Stagecraft – both of which must be
staging, street theatre, folk theatre, puppetry). studied by candidates.
5. Composition, picturisation, movement, rhythm, 1. Acting: Candidates will be required to practise
dramatisation. and perform as actors. This practical and
6. Literature: no specific texts are prescribed, but performance may be undertaken either as acting
candidates need to have studied some extracted an original piece or acting a piece/extract from
pieces as examples, which may include a play. The practical work of candidates
Pygmalion, Galileo, A Doll’s House, Antigone will be assessed by the teacher as course work.
and improvise.

17

The teacher is free to assess the course work Assessment
either on the basis of continuous assessment or 1. The teacher and the External Examiner will
on the basis of periodical tests. Where a assess the practice and performance of
candidate has personally taken part in candidates.
performance, video recorded evidence and
reviews may be submitted for the assessment by 2. The External Examiner may be a teacher
the External Examiner. nominated by the Head of the school, who could
be from the faculty, but not teaching the
2. Stagecraft: In addition to the course work on subject in the section/class. For example, a
Acting, the candidates will be tested in one teacher of Drama of Class VIII may be deputed
element of stagecraft by the teacher and by an to be an External Examiner for Class X Drama
External Examiner. Candidates will be required Projects.
to choose one area from (i) Costumes, (ii) Make-
up, (iii) Stage design including sets, (iv) The Internal Examiner and the External Examiner
Lighting, (v) Sound. Candidates should present will assess the assignments independently.
designs prepared based on a play that has been Award of Marks (100 Marks)
developed as coursework during the year.
Subject Teacher (Internal Examiner) 50 marks
Photographs, designs and video tapes may be
submitted for the assessment by the External External Examiner 50 marks
Examiner where the candidate has prepared a The total marks obtained out of 100 are to be sent to
design for a performance. 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.

18

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

19