CBSE Class 10 Syllabus 2027 Hindustani Music

FOR CBSE CLASS 10 SYLLABUS EXAM PREPARATION

CBSE Class 10 Syllabus
2027
Question Paper
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CBSE Class 10 Syllabus 2027 Question Paper Hindustani Music

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

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
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key features and it distinguishes itself from any other music in the world, representing

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India's unique and rich cultural heritage. Hindustani Vocal Music, developed in North
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India, with its roots tracking back to the Vedic period, evolved significantly during the
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medieval era. Often known as a Raga music, various musical forms and singing styles
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have evolved in course of time in Hindustani Vocal music such as Dhrupad, Dhamar,
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Khayal, Tarana, Chaturang, Trivat as Classical Vocal forms and Thumri, Dadra, Tappa,
Kajri, Chaiti etc. as Semi-classical forms. In due 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.
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Objectives
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● It is important to carry forward the rich heritage and tradition of Hindustani Classical
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Music to the next generation and to familiarize students with its rich history and
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diversity.
● To ensure the correct rendering of nuances of Hindustani Ragas, pedagogical
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 various
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musical concepts.
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Learning Outcomes
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s e ● Understanding the concepts of Indian Classical Music.
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● Ability to handle the accompanying instruments such as Tanpura and Harmonium.
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Tarana style of

● 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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Page 1 of 12

HINDUSTANI MUSIC - VOCAL
Subject Code - 034
Class X (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: 02 hours
1. Questions to be set with internal choice covering the entire syllabus.

S.No. Units Marks
Unit 1 06
1.1 Define the following :Aalap, Taan, Meend, Kan
1.2 Define the following: Dhrupad, Dhamar, Tarana,
Unit 2 06
2.1 Basic knowledge of the structure and Tuning of Tanpura.
Unit 3 06
3.1 Detailed study of the following Ragas:Bhupali, Khamaj, Brindavani
Sarang
3.2 Description and Tala notation of the following:
 Talas with Thah, Dugun, Tigun and Chaugun
 Tilwada, Chautala, Rupak.
Unit 4 06
4.1 Ability to write notation of compositions in prescribed ragas.

4.2 To identify Ragas from phrases and elaborate them in Swaras.
Unit 5 06
5.1 Brief life sketch and contribution to music of Tansen. Sadarang and
Faiyaz Khan to music
5.2 Contribution of Omkar Nath Thakur

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(B) Practical Max. Marks 50
(i)Topics
1. One Vilambit Khayal with simple elaborations in any one of the prescribed
Ragas.
 Bhupali
 Khamaj
 Brindavani Sarang

2. Aaroha, Avaroha, Pakad and Drut Khayal with simple elaborations and few
Tanas in each of the prescribed Ragas :
3. Devotional Song
4. Ability to recognize the prescribed Ragas from the phrases of Swaras rendered
by the examiner.
5. Recitation of the Thekas of the following Talas with dugun, keeping Tala
with hand- beats:
 Tilwada
 Chautala
 Rupak

(ii) Distribution of Marks
Time: 20-25 Minutes for each candidate
1. External Examiners are requested to ask questions directly related to the syllabus.
2. Marks should be awarded in accordance with the marking scheme.
S.No. Value Points Marks
1. One Vilambit Khayal with simple elaborations in any one of the 12
prescribed Raga:
 Bhupali
 Khamaj
 Brindavani Sarang
2. Aroha, Avroha, Pakad and Drut Khayal with simple elaborations 24
and few Tanas in each prescribed Raga.
3. Devotional Song 04
4. Identification of prescribed Ragas from the phrases of Swaras 04
rendered by the examiner.
5. Recitation of Thekas of the following prescribed Talas with dugun: 06
 Tilwada
 Chautala
 Rupak
* External Examiners will refer to the distribution of marks while examining the
candidate for practical examination.

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a (C) Internal Assessment: ag Max. Marks 20

1. Project–File (05 Marks)
 Writing in notation the musical compositions of all Ragas prescribed in the
syllabus.
 Identifying the Tala of musical compositions.
 Drawing and labelling the various parts of any percussion instrument.
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 Description and writing the notation of all prescribed Talas with Layakaris

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(Thah, Dugun, Tigun, Chaugun).
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 Identifying and interviewing any neighborhood artists.
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2. Project Work ag
(05 Marks)
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Suggestive Topics *
Interrelationship of the following:
 Music and Religion
 Music and Cinema
 Music and Electronic Media
 Devotional aspects in Music

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 Inter-relationship of Arts (Music - Dance or Theatre or Visual Arts)
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. above topics or any other topic for
*Students may choose any one of the
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project in consultation with the teacher.

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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 Devotional Song and
two Talas.

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Page 4 of 12

HINDUSTANI MUSIC – MELODIC INSTRUMENTS
Subject Code - 035
Class- X (2026-27)

Introduction
The course in Hindustani Melodic Instruments at Secondary and Senior Secondary level
is being offered to students for the holistic development of their personality. Hindustani
Instrumental Music, in coherence with Hindustani Music, has evolved as one of the finest
and foremost solo Instrumental music around the globe today. Enriched with soulful
acoustic sound and beautifully crafted features, these instruments have sound scientific
background. Inheriting the concept of Ragas and Talas as the key features, Hindustani
Music distinguishes itself from any other music in the world, representing India's unique
and rich cultural heritage. It is one of the two major traditions of Indian Classical Music,
the other being the Carnatic music. Hindustani Music developed in North India with roots
tracking back to the Vedic period, and evolved significantly during the medieval era.
Often known as a Raga Music, various musical forms have evolved over time in
Hindustani music such as Dhrupad, Dhamar, Khayal, Tarana etc. Initially being
accompanying instruments to these Vocal forms for centuries, various instruments such
as Rudra, Veena, Surbahar, Sitar, Sarod, Sarangi, Santoor etc. have established
themselves as solo instruments today. Under the process of refinement for decades,
these instruments are fully capacitated to deliver the embellishments (meend, kan,
khatka, gamak etc.) of notes, in accordance with the various moods of Indian Ragas.

Objectives
 It is important to carry forward the rich heritage and tradition of Indian Classical
Music to the next generation and to familiarize students with its rich history and
diversity.
 To ensure the correct rendering of nuances of Hindustani Ragas, pedagogical
interventions involving the indigenous, traditional face-to-face Guru- Shishya
(teacher – student) style are incorporated.
 Structures of various Hindustani musical forms such as Dhrupad, Dhamar, Khayal,
Tarana, Razakhani and Maseetkhani gats in the raga music can be learnt properly
through face to face teaching methodology.
 Students not only learn a vital aspect of Indian culture, but also develop skills and
qualities that benefit their overall growth and personality development.
 Music is very closely associated with many Science and Arts disciplines. The aim
is also to focus on making students aware of the interdisciplinary approaches in
various musical concepts.
Learning Outcomes
 Understanding the concepts of Indian Classical Music.
 Ability to handle, and adopt the techniques of instrumental music on the
instrument opted for
 Proficiently performing raga delineation on the instrument opted for.
 Understanding time cycles (talas), rhythmic patterns and layakaris.
 Developing a scientific approach in all aspects, through the systematic training
adopted during the teaching – learning process.
 Understanding other disciplines and their relation to various aspects of Indian
Classical Music.

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HINDUSTANI MUSIC – MELODIC INSTRUMENTS
Subject Code - 035
Class X (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: 02 hours
1. Questions to be set with internal choice covering the entire syllabus

S.N Units Marks
o
Unit 1 06
1.1 Definition of the following :Aalap, Taan, Meend, Kan.

1.2 Definition of the following: Dhrupad, Masitkhani Gat, Razakhani
Gat.
Unit 2 06
2.1 Basic knowledge of the structure and Tuning of any one of the
following instruments:
 Sitar Sarod Violin
 Dilruba or Esraj Flute
 Mandolin Guitar

Unit 3 06
3.1 Detailed study of the following Ragas: Khamaj, Brindavani
Sarang, Bhupali
3.2 Description and Tala notation of the following Talas withThah
Dugun, Tigun and Chaugun, Tilwada, Rupak.

Unit 4 06
4.1 Ability to do notation of compositions in prescribed ragas.
4.2 To identify Ragas from Phrases and elaborate them in Swaras.
Unit 5 06
5.1 Brief life sketch and contribution of Tansen, Allaudin Khan and
Inayat Khan.
5.2 Contribution of Omkar Nath Thakur

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a (B) Practical ag Max. Marks 50

(i)Topics

1. One Maseetkhani Gat with simple Todas in any one prescribed
raga. Bhupali, Khamaj, Brindavani Sarang
2. Aaroha, Avroha, pakad and Drut Gat with Tana and Jhala in each of
the prescribed ragas:
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3. One Dhun
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4.
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Ability to recognize the prescribed Ragas from the Phrases of swaras
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rendered by the examiner.
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Recitation of the Thekas of the following Talas with Dugun, keeping
a Tala, with hand beats:Tilwada, Rupak

(ii) Distribution of Marks

Time: 15-20 Minutes for each candidate

1. External Examiners are requested to ask questions directly related to the
syllabus.
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2. Marks should be awarded in accordance with the marking scheme.

S. No.
e mValue Points Marks
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One Maseet Khani Gatlwith
1.
Prescribed Raga: a
g elaborations in any one of the 14
i. Bhupali
ii. Khamaj
iii. Brindavani Sarang
2. Aroha, Avroha, Pakad, Drut Gat with few Todas and 24
Jhala in each prescribed Raga
3. Identification of prescribed Ragas from the phrases of 04
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Swaras rendered by the examiner
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Recitation of Thekas of the following prescribed Talas with 04

g la Dugun:
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ii.
Sultala
Rupak

 External Examiner will refer to the distribution of marks, while examining the
candidate for Practical Examination.

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Page 7 of 12

(C) Internal Assessment Max. Marks 20

1. Project File: (05 Marks)
 Writing in notation the musical composition of all Ragas prescribed in the
syllabus.
 Identifying and interviewing neighborhood artists.
 Draw & label any one instrument (melodic).
 Description and writing of the notation of all prescribed Talas with Layakaris
(Thah, Dugun, Tigun, Chaugun).
 Draw & label any one melodic instrument.

2. Project Work (05 Marks)
 Suggestive Topics*

Interrelationship of the following;
 Music and Religion
 Music and Cinema
 Music and Electronic media
 Devotional aspects of music
 Interrelationship of Arts (music-dance or theatre or visual arts)
*Students may choose any one of the above topics or any other topic for project
in consultation with the teacher.

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 one Dhun and two Talas.

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HINDUSTANI MUSIC – PERCUSSION INSTRUMENTS
Subject Code - 036
Class- X (2026-27)

Introduction
The course in Percussion Instruments at Secondary and Senior Secondary level, is
being offered to students for the holistic development of their personality. Percussion
Instruments like Tabla/Pakhawaj are some of the finest Indian drum instruments around
the world. Enriched with soulful acoustic sound and beautifully crafted features, these
instruments produce sound based on scientific principles.
Inheriting the concept of Layas and Talas as the key features, Hindustani Music
distinguishes itself from any other rhythmic patterns in the world, representing India's
unique rich cultural heritage. It is one of the two major Tala traditions of Indian classical
music, the other being the Carnatic tradition. Hindustani Percussion Instruments have
developed in India with roots tracking back to the Vedic period, and evolved significantly
during the medieval era. Initially being accompanying instruments to various musical
forms, percussion instruments have established themselves as solo instruments today.
Objectives
 It is important to carry forward the rich heritage and tradition of Hindustani
Classical - Percussion Music to the next generation and to familiarize students
with its rich history and diversity.
 To ensure the correct rendering of nuances of percussion syllables and
Hindustani talas, pedagogical interventions involving the indigenous, traditional
face-to-face Guru- Shishya (teacher – student) style are incorporated.
 Students learn the techniques of performing Tala and its cycle (Theka), Kayada,
Rela, Baant, Uthan, Peshkar, Tihai and various other compositions, keeping in
mind the aesthetics of Tala presentation, playing style, clarity of bols and the
overall performance.
 Students not only learn a vital aspect of Indian culture but also develop skills and
qualities that benefit their overall growth and personality development. Further the
nerve endings of the performer get pressurize while performing Hindustani
Classical - Percussion Music, which channelizes positive energy in the body. This
may help students enhance their capabilities, both physically and mentally.
 Music is very closely associated with many Science and Arts disciplines. The aim
is also to focus on making students aware of the interdisciplinary approaches in
various musical concepts.
Learning Outcomes
 Understanding the concepts of Indian Tala system.
 Ability to understand the concept of rhythm and the techniques of instrumental
percussion music.
 Ability to handle and perform solo recital on the percussion instrument opted for.
 Ability to understand Laya, Tala, various compositions and Layakaris.
 Developing a scientific approach in all aspects, through the systematic training
adopted during the teaching – learning process.
 Understanding other disciplines and their relation to various aspects of Hindustani
Classical Percussion Music.
.

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HINDUSTANI MUSIC – PERCUSSION INSTRUMENTS
Subject Code - 036a
Class X (2026-27)

Assessment Design
S.No Component Marks
A Theory 30
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B
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C
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a Curriculum & Examination Structure

(A) Theory
Time: 02 hours Max. Marks 30
1. Questions to be set with internal choice covering the entire syllabus unit wise.
2. Candidate has to attempt at least one question from each unit.

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S.No. Units Marks
Unitm1.
s e Chakradar Tukra or Paran. 06

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1.1 Define the following: Farmaishi
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a Vadya
1.2 Short notes on Tripushkar
Unit 2 09
2.1 Brief study of Delhi Gharana of Tabla and Nana Panse Gharana
of Pakhawaj.
2.2 Salient features of Farukhabad Gharana of Tabla or Nath Dwara
Gharana of Pakhawaj

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Unit 3 09
m Ability to write: Kayada or Rela, Tukra,or Paran, in Teentala.or Adi
c. o 3.1 Tala and Jhaptala or Sultala with Tala Notation system. em
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Teentala or Adital with Tala Notation system.

Unit 4 06

4.1 Ability to write the Kayada or Rela in Ektala or Chautala with Tala
notation system.
4.2 Ability to write the Thekas of Jhaptala or Sultala, Ektala or
Chautala in Thah, Dugun and Chaugun laya.

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(B) Practical Max. Marks 50
(i) Topics
1. a. One Kayada or Rela in Ektala or Chautala with two Paltas and
Tihai.
b. One Chakardar Tukra or Paran and one simple Tihai in Ektala or
Chautala.two Laggi in Keharwa .
2. Ability to play two Kayadas or Rela in Jhaptala or Sultala.
3. Ability to play one Adalaya Kayada or Rela, two Sadharan Kayadas
or Relas, one Farmaishi Chakardar and one Gat or Stuti Paran in
Teentala or Aditala.
4. Ability to play varieties of Thekas in Teentala or Adi Tala, Jhaptala or
Sultala, Rupak or Teevra.
5. Ability to play Kayada, Palta, Tihai, Rela, Tukra, Paran, Chakardar in
Teentala or AdiTala, Jhaptala or Sultala, Ektala.
6. Ability to do accompaniment with Bhajan
7. Solo performance with lehara at least 08-10 minutes in Teentala or
Adi Tala and 05-07 minutes in Jhaptala or Sultala.

(ii) Distribution of Marks
Time: 15-20 Minutes for each candidate
1. External Examiners are requested to ask questions directly related to the syllabus.
2. Marks should be awarded in accordance with the marking scheme.

S. No. Value Points Marks

1. Knowledge of Kayadas or Relas, Paltas, Tihai, Chakradar Tukras 08
or Parans in Ektala or Chautala
2. Laggi in Keharwa and Dadra Talas. 05

3. Knowledge of Kayada or Rela, Chakradar Tukras or Parans in 06
Jhaptala or Sultala
4. Demonstration of Adalaya Kayada or Rela, Farmaishi Chakradar, 08
Sadharan Gat, Stuti Parans in Teentala or Aditala
5. Demonstration of Thekas of Rupak or Tevra, Ektala or Chautala 05
with hand beats.
6. Ability to play Kayadas, Paltas, Tihais, Relas, Tukras, Parans in 05
prescribed Talas
7. Accompaniment with Bhajan and Geet 05

8. Solo Performance in any of the prescribed Tala:- 08
Teentala or Aditala, Jhaptala or Sultala, Ektala or Chautala

 External Examiner will refer to the distribution of marks while examining the
candidate for Practical Examination.

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(C) Internal Assessment: Max. Marks 20
1. Project File: (05 Marks)
 Writing the composition (Kayada, Rela, Tukra or Paran, Farmaishi, Chakradar,
Tukra or Paran prescribed in the syllabus in notation
 Identifying and interviewing neighborhood artists, drawing & labeling any one
instrument (percussion).
 Description and writing the notation of prescribed Talas with Layakaris
(Thah, Dugun, Chaugun).
 Draw and label any one percussion instrument.

2. Project Work (05 Marks)

Suggestive Topics *

Interrelationship of the following:
 Music and Religion
 Music and cinema
 Music and electronic media
 Devotional aspects of music
 Interrelationships of Arts (Music-dance or theatre or visual arts)

*Students may choose any one of the above topics or any other topic for
project in consultation with teacher.

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 to perform solo recital in prescribed Talas with
Kayada or Rela, Tukra or Chakradar, Paran in Teentala or Aaditala.

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