CBSE Senior Secondary Syllabus 2027 Hindustani Vocal

FOR CBSE SENIOR SECONDARY SYLLABUS EXAM PREPARATION

CBSE Senior
Secondary Syllabus
2027
Question Paper
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CBSE Senior Secondary Syllabus 2027 Question Paper
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Hindustani Vocal

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HINDUSTANI MUSIC - VOCAL
Subject Code - 034 g l a
Class XI-XII (2026-27) a
Introduction
The course in Hindustani Music Vocal at Secondary and Senior Secondary level is
being offered to the students for the holistic development of their personality.
Inheriting the indigenous concept of Rasa theory proposed by Acharya Bharat Muni in
his text ‘’Natyashastra’’, Hindustani Classical Vocal music is based on Ragas and
Talas as the key features and it distinguishes itself from any other music in the world,
representing India's unique and rich cultural heritage. Hindustani Vocal Music,
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developed in North India, with its roots tracking back to the Vedic period, evolved
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significantly during the medieval era. Often known as a Raga music, various musical

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forms and singing styles have evolved in course of time in Hindustani Vocal music
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such as Dhrupad, Dhamar, Khayal, Tarana, Chaturang, Trivat as Classical Vocal
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forms and Thumri, Dadra, Tappa, Kajri, Chaiti etc. as Semi-classical forms. In due
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course of time many Gharanas (Music Schools) also evolved in Hindustani Vocal
Music such as Gwalior, Agra, Jaipur, Kirana, Rampur, Sahasawan etc., which
consisted of their individual characteristic style of singing, voice culture, singing
texture, layakari and the use of various embellishments such as Gamak, Meend, Kan,
Khatka, Murki etc., in different magnitude to unfold the nuances and aesthetics of the
Ragas in these Classical and Semi–classical Vocal forms. Hindustani Vocal music is
considered as one of the finest and foremost music around the globe today.
Objectives
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● It is important to carry forward the rich heritage and tradition of Hindustani Classical
Music to the next generation and to familiarize students with its rich history and
diversity.
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●
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To ensure the correct rendering of nuances of Hindustani Ragas, pedagogical

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interventions involving the indigenous, traditional face-to-face Guru-Shishya
(teacher – student) style are incorporated.
● To ensure that students not only learn a vital aspect of Indian culture, but also,
develop skills and qualities that benefit their overall growth and personality
development.
● To utilize Music as a tool to help students deal with aggression and other age
specific challenges.
● Music is very closely associated with many Science and Arts disciplines. The aim
will also focus on making students aware of the interdisciplinary approaches in
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various musical concepts.

om Outcomes
c. Learning e m
em ● Understanding the concepts of Indian Classical Music. gla s
las a and Harmonium.
ag ● Ability to handle the accompanying instruments such as Tanpura
● Efficiency to perform raga delineation in Dhrupad, Dhamar, Khayal and Tarana
style of singing.
● Ability to understand different Talas (time cycles), rhythmic patterns and layakaris.
● Developing a scientific approach in all aspects through systematic training during
the teaching – learning process.
● Understanding other disciplines and their relation to various aspects of Indian
Classical Music.
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HINDUSTANI MUSIC - VOCAL
Subject Code - 034
Class XI (2026-27)

Assessment Design
S.No Component Marks

A Theory 30
B Practical 70

Curriculum & Examination Structure

(A) Theory Max. Marks 30
Time: 02 hours
1. Questions to be set with internal choice covering the entire syllabus

Sr. No. Units Marks

Unit 1
1.1 Brief study of the following: 06
Nada, Shruti, Swar, Saptak, Thaat, Jati, Laya, Tala
1.2 Brief study of the following: Margi- Desi Sangeet, Raga,
Unit 2
2.1 Brief History of the following Dhrupad, Khayal andTarana 06
Unit 3
3.1 Brief study of Musical Elements in Natya Shastra 06
3.2 Life sketch and contribution of Tansen, V.N. Bhatkhande and
V.D.Paluskar
Unit 4
4.1 Description of prescribed Talas along with Tala Notation with 06
Thah, Dugun and Chaugun
 Teentala
 Ektala
 Chautala
4.2 Knowledge of the Structure of Tanpura
Unit 5
5.1 Critical study of Prescribed Ragas. Recognizing Ragas from
phrases of Swaras and elaborating them. 06

5.2 Writing in natation the compositions of prescribed Ragas
 Bihag
 Bhimpalasi
 Bhairavi

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(B) Practical Max. Marks 70

(i)Topics
1. One Vilambit Khayal with simple elaborations and few tanas in any one of
the prescribed Ragas.
2. One Drut Khayal with simple elaboration and few tanas in the following
Ragas: Bihag, Bhairavi and Bhimpalasi.
3. One Dhrupad with Dugun in any one of theprescribed Ragas.
4. One Devotional Song.
5. Ability to recognize the prescribed Ragas from the phrases of Swaras
rendered by the Examiner.
6. Recitation of the Thekas of Teentala, Chautala and Ektala with Dugun and
Chaugun, keeping Tala with hand beats.

(ii) Distribution of Marks
Time: 20-25 Minutes for each candidate
1. Examiners are requested to ask the questions directly related to the syllabus.
2. Marks should be awarded in accordance with the marking scheme.

S. No. Value Points Marks

1. Choice Raga (Vilambit & Drut Khyal) any one of the 15
following:
 Bihag
 Bhimpalasi
 Bhairavi
2. Examiner’s Choice of Ragas 12
3. 1 Dhrupad with Dugun in any one of the prescribed Ragas 14

4. Devotional Song. 06
5. Ability to recognize the prescribed ragas from the 08
phrases of swaras rendered by the examiner
6. Recitation of Thekas of prescribed Talas with Thah,
Dugun, Chaugun: 05+05=10
 Teentala
 Ektala
 Chautala
Practical File:
7.  Analyse the style of any present day artis of classical 05
vocal music.
 Description and notation of all compositions in
prescribed Ragas.
 Description and Tala Notation with layakaris of all
prescribed.
* Teachers will refer to the distribution of marks while examining the candidate for
practical examination

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se HINDUSTANI MUSIC - VOCAL
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(Subject Code - 034)
Class XII (2026-27)

Assessment Design
S.No Component Marks
A Theory 30
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B Practical 70
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c. o Curriculum & Examination Structure s e m
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(A) Theory Max. Marks 30
g
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Time: 02
1. Questions to be set with internal choice covering the entire syllabus

S.No. Units Marks
Unit 1
1.1 Brief study of the following: - Alankar, Kan, Meend, Khatka, Murki, 06
Gamak.
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1.2 Brief study of the following Gram, Murchhana, Alap, Tana.

s emUnit 2

gla Theory of Ragas
06
2.1 Historical development ofaTime

Unit 3
3.1 Detail study of Sangeet Ratnakar the following: Sangeet Parijat 06

3.2 Life sketch and Contribution of Faiyaz Khan, Bade Ghulam Ali Khan,
Krishna Krishna Rao, Shankar Pandit

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Unit 4
m .
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em 4.2 Tuning of Tanpura a
Thah, Dugun, Tigun and Chaugun Jhaptala, Rupak, Dhamar
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a Unit 5
5.1 Critical study of Prescribed Ragas along with recognizing the Ragas 06
from phrases of Swaras and elaborating them.

5.2 Writing in Notation the Compositions of Prescribed Ragas: Bhairav,
Bageshri, Malkauns

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(B) Practical Max. Marks 70

(i)Topics
1. One Vilambit Khayal with simple elaborations and few Tanas in any two of the
prescribed Ragas.
2. One Drut Khayal with simple elaborations and few tanas in the following
Ragas-Bhairav, Bageshri and Malkauns.
3. One Tarana and one Dhamar with dugun and chaugun in any one of the
prescribed Ragas.
4. Ability to recognize the Ragas from the Phrases of Swaras rendered by the
examiner.
5. Recitation of the Thekas of Jhaptala, Rupak, and Dhamar with Dugun and
Chaugun, keeping tala with handbeats.
6. Tuning of Tanpura.

(ii) Distribution of Marks
Time: 25-30 Minutes for each candidate
1. Examiners are requested to ask the questions directly related to the syllabus.

S.No. Value Points Marks
1. Choice Raga (Vilambit and Drut Khayal) with simple 10+8=18
elaborations in prescribed Ragas (anyone):
 Bhairav
 Bageshri
 Malkauns

2. Examiner’s Choice of Ragas 10
3. One Tarana and one Dhamar with Dugun and Chaugun 8+8=16

6. Identification of Ragas 06
Reciting the Thekas of Prescribed Talas with handbeats with 5+5=10
7. Thah and Dugun and Chaugun:
 Jhaptala
 Rupak
 Dhamar

8. Tuning of Tanpura and questions regarding it 5
9. Practical file 5

* External Examiner will refer to the distribution of marks while examining the candidate
for practical examination

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