CBSE Senior Secondary Syllabus 2027 Carnatic Percussion

FOR CBSE SENIOR SECONDARY SYLLABUS EXAM PREPARATION

CBSE Senior Secondary
Syllabus 2027
Question Paper
EXAM YEAR TYPE

CBSE Senior Secondary Syllabus 2027 Question Paper
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Carnatic Percussion

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Class XI-XII (2026-27)

Introduction
The course in Carnatic music - Percussion Instruments at Secondary and Senior
Secondary level is being offered for the students, who develop an aptitude and creative
ability in the art of Percussion Instruments and carry forward their capabilities in
Percussion music through education. The syllabus offered in this course envisages the
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holistic development of the students by introducing to them, the intangible values and rich
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cultural heritage of our country, which have been in coexistence with music and art forms
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practiced through ages. The ethos and philosophical concepts that are mirrored in the
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ancient system of Indian music, can be appreciated by the students who learn this
course. Along with the intricacies as well as cadences of musical rhythm, this course
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induces a historical consciousness among the students who wish to pursue higher
studies in Music. To some extent this course may even be considered as a stepping
stone to vocational studies.
Objectives
● To introduce to students, an understanding of certain principles related to the
origin and development of Indian music through ages and to familiarize students
with the rich history and diversity of Carnatic music and Percussion instruments.
● To inculcate curiosity about the formation of Tala and its various Jaatis, angas etc
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and further development to the intricate tala system etc.
● Music is very closely associated with many Science and Arts disciplines. One of
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the objectives is to make the students focus on the interdisciplinary approaches in
various musical concepts.
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● To develop the ability, techniques and skills of playing the instrument opted for,
thus grooming the students to become professional artists of their respective
fields.
● To motivate students to take up percussion instrumental music as a career as well
as to open avenues for different careers in related fields.
● To make students aware and efficient in other subjects through integrated
learning.
● Students not only learn a vital aspect of Indian culture but also develop skills and
qualities that benefit their overall growth and personality development.
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Learning Outcomes
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By learning this course, students:
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in Carnatic

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Music
● Will be able to understand the Tala and its various systems in Carnatic music.
● Will be able to learn the art of playing Carnatic percussion instruments, its
techniques and skills
● Will be able to assimilate musical concepts with other disciplines
● Will be able to develop a scientific approach in all aspects, through systematic
training opportunities offered during teaching – learning process
● Will be able to appreciate Percussion music as a career oriented subject.

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Class XI (2026-27)

Assessment Design

S.No Component Marks

A Theory 30

B Practical 50

C Internal Assessment 20

Curriculum & Examination Structure
(A) Theory Max. Marks: 30

Time: 2 Hours

History and Theory of Indian Music

1. (i) An outline knowledge of following Lakshana Granthas with special
reference to laya and percussion in Natya Sastra, Brihaddesi,
Sangita, Sampradaya Pradarshini.

(ii) Short life sketch and contributi ons of the following: Patnam
Subramany Iyer, and Syama Sastry, Tyagaraja.

(iii) Unique contribution of the following luminaries: Narayana Swamy Appa,
Mamunidiya Pillai, Dakshinamurti Pillai and Alagunambi Pillai.

2. Definition and explanation of the following: Nada, Laya, Tala, Jati, Gati,
Suladi Sapta Talas, Karani, Vettu Thattu, Hechchu, Taggu, Mohra,
Korvai, Meettu, Chapu and Arachapu.

3. The candidates should be able to write in notation of the percussion korvais
in Adi and Rupaka talas.
4. Knowledge of construction of the chosen playing percussion instrument.

5. Basic knowledge of the construction and techniques of Mridangam. The
candidate should also be able to describe the Kanjira, Tavil,and Ghatam.

6. Tattakarams (or Konnakkol) of the talas learnt. Excluding ChapuTala

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(B) Practical Max. Marks: 50

S.No Practical Activities Marks

1. Ability to play the following talas with elaboration. Adi and 15
Rupakam Talas covering at least two Nadais.

2. Thekas and Mohras in different talas with Teermanam and 15
Korvais.
3. Tuning of the instrument. 5

4. Ability to render orally the sollukattus of the various patterns in 15
Adi, Rupaka tala.
Total 50

* Teachers will refer to the distribution of marks while examining the candidate for
practical examination.

(C) Internal Assessment Max Marks: 20

1. Project- File (05 Marks)
 Prepare Thirumanam, Mohra and Korvai for the Talas prescribed.
 Draw and labelling the Various parts opted instrumental (percussion).
 Identifying and interviewing neighborhood Artists.
 Knowledge about any one percussion artist.

2. Project Work (05 Marks)
Analyse the style of any two contemporary musicians in classical percussion music
concert.

3. Periodic practical Test, restricted to three in an academic year. (10 Marks)
Average of best two tests to be taken for final marks submission. Each test will
examine a candidate for one Raga from the syllabus, one Folk song or Patriotic
song.

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Class XII (2026-27)

Assessment Design

S.No Component Marks
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A Theory 30

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B
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Internal Assessment 20

Curriculum & Examination Structure

(A) Theory Max. Marks: 30
Time: 2 Hours

History and Theory of Indian Music
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An outline knowledge of following Lakshana Granthas with
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special reference to Tala and percussion in Chaturdandi
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Prakashika, Sangita Ratnakara, Ragavibhodha, Svaramela Kalanidhi

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Short life sketch and contributions of the following luminaries:
Needamangalam Meenakshi Sundaram Pillai, Tanjore Vaidyanatha
Iyer, Palghat Mani Iyer, Umaiyalpuram Kodanda Rama Iyer, Palani
Subramania Pillai, Vilvadri Iyer.
3. Study of the musical forms, Pallavi, Sollukattu, Tillana,Padam and
Javali

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4. Definition and explanation of the following: Arudi, Eduppu, Gati-bheda,

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Anuloma, Pratiloma, Tisram, Trikalam, Theka, Shadangas, Talas.
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of Percussion instruments in general and a brief history of the

la instrument opted for
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Atitam, Anagatam, Pharan, Kalapramanam, Ghumki,
Konnakkol,Choru, Varu, Toppi
7. The candidate should possess knowledge of the fundamental
structure, technique and playing of
other percussion instruments like Morsing, Tabla, Chenda, Edakka and
Gettu Vadyam.

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(B) Practical Max Marks: 50

Practical Activities
1. Ability to construct Mohra and Korvai to Khanda jati Ataalam and Triputa
tala.
2. An exhibition of accompanying ability
3. Demonstration of the various types and usages of Gumki.

4. Ability to play Tani Avartanam in Misra and Khanda Chapu Talas .

(C) Internal Assessment & Project Work: Max. Marks: 20

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Class XII (2026-27)

GUIDELINES TO THE EXAMINERS FOR EVALUATION OF PRACTICAL

Practical

Duration: 30 to 45 minutes per candidate Max. Marks: 50
General Instructions:
1. Just before starting the test, the students should be asked to submit a list of
what they have been taught from the course.
2. External Examiners are required to ask questions which are directly related
to the syllabus.
3. Marks should be given in accordance with the marking scheme.

Distribution of Marks:
S.No Value Points Marks
1. Tuning of the instrument and questions regarding instrument 05
2. Taniavartanam of choice Tala 06
3. Tala of Examiner’s choice 10
4. Reciting the sollukattu with tala 06
5. Accompanying techniques for Vocal Music and Instrumental 10
Music
6. Accompanying techniques for Trikalam in pallavi singing 10
7. Questions regarding laya and tala 03
TOTAL 50
Note: External examiners have to be arranged for 50 marks of the practical
examination.

Internal Assessment & Project Work Max. Marks: 20
Project Work Guidelines:
Minimum four reports and maximum ten reports have to be submitted. Best four
will be considered for evaluation.
 Must attend and report live concerts (both Vocal and Instrumental).
 Details of the organization (i.e. notices informing the concert has to be
included in the project).
 Presentation of items in order
 Details of each item presented (whether creative or Manodharma aspects
included).
 Audience response and duration of each item.
 Details about the item in which Tani avartanam was played.
 Photographs of the live concert. (If possible)

Note: In absence of live classical concerts, students can make report on
Devotional Bhajans, T.V. live shows,etc.

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List of Topics for Reference:

 The student should be asked to tune the instrument to a particular pitch. He/she
may be asked about the structure and parts of the instrument: problems faced in
maintaining the instrument in good condition during change of weather.
 Choice Tala: The student should be asked to play full-fledged tani avartanam in
a talaof his/her choice.
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 Tala of Examiner’smchoice: The student should be asked to play tani avartanam . c
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to one or two talas

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the tani avartanam
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 The candidate a
may be asked to recite Mohra, Korvai, Tirmanam for different
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talas learnt.
 The candidate should be asked to accompany vocal music, instrumental music or
both. The music may be provided either by the examiners themselves or by an artist
specifically engaged for the purpose.
 Questions like (a) differentiation between laya and tala, (b) various Angas of the
talas, (c) Explanation of technical terms like Thekka, Pharan, Gumki, Meettu, Chappu,etc.

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