ISC Class 12 Syllabus 2023 Music (Revised)

MUSIC

Note: The Syllabi under this Subject have not been changed.

One of the three following syllabuses may be offered:

(A) Indian Music (Hindustani) (872).
(B) Indian Music (Carnatic) (873).
(C) Western Music (874).

(A) INDIAN MUSIC (HINDUSTANI) (872)
(May not be taken with Western Music or Carnatic Music)

CLASS XII

The Syllabus is divided into three parts: PAPER 2: PRACTICAL (30 Marks)
Part 1 (Vocal), The practical work is to be evaluated by the teacher
and a Visiting Practical Examiner appointed locally
Part 2 (Instrumental) and
and approved by the Council.
Part 3 (Tabla)
EVALUATION:
Candidates will be required to offer one of the parts
Marks will be distributed as follows:
of the syllabus.
• Practical Examination: 20 Marks
There will be two papers:
• Evaluation by Visiting Practical 5 Marks
Paper 1: Theory 3 hours ….. 70 marks
Examiner:
Paper 2: Practical ….. 30 marks.
(General impression of total
Candidates will be required to appear for both the performance in the Practical
papers from one part only. Examination: accuracy of Shruti and
Laya, confidence, posture, tonal
PAPER 1: THEORY (70 Marks)
quality and expression)
Candidates will be required to attempt questions on • Evaluation by the Teacher: 5 Marks
either Part 1: Vocal Music or Part 2: Instrumental (of work done by the candidate
Music or Part 3: Instrumental Music Percussion during the year).
(Tabla).

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CLASS XII
PART I: VOCAL MUSIC

PAPER 1: THEORY (70 Marks) 7. Raga
(i) Bihag, Bageshwari, Kafi, Bhairavi, Malkauns
1. Musical Terms and Forms
(ii) Identification of Raga by written note-
(i) Naad combination
Meaning, origin, types (Aahat, Anahat) and (iii) Comparison and contrast between above
qualities (Volume, Pitch, and Timbre). mentioned Raga.
(ii) Raga Complete theory of the above mentioned
Type of Raga: Poorva, Uttar, Sandi- Ragas with special reference to their Swar,
Prakash, Shudha, Chhayalag, Sankirna Thaat, Jaati, Aaroh, Avaroh, Pakad, Vadi,
(Meaning with examples). Samvadi, Anuvadi, Vivadi, Varjya, Vikrit,
Samprakriti Raga and singing/playing time.
(iii) Forms of composition: Dhrupad, Dhamar.
Origin, development and characteristics to 8. Notation of Taal
be done in detail. Dhamar, Ektaal, Roopak, Chartaal.
(iv) Meend, Andolan, Gamak, Kan, Alaap, Taan. The above Talas with their Thekas, Tali, Khali,
Meaning, uses with examples wherever Vibhag in Thah, Dugun, Tigun and Chaugun
applicable. Laya.

2. Systems of Indian Classical Music 9. Notation of Bandish (Chhota Khayal and Bada
Khayal)
The two systems of Indian Classical Music.
Sthai and antara with the mention of the name of
Hindustani and Carnatic Music – comparative the raga (with its aaroh, avaroh) and taal with
study with reference to technique of usage, Swar, clear indication of Swar and Taal signs.
Taal, composition, instruments used and
language. Note: Chhota Khayal in all Ragas and One Bada
Khayal of candidates choice from the Ragas
(Bihag, Bageshwari, Kafi, Bhairavi, Malkauns).
3. Placement of Swaras on twenty-two Shrutis
Ancient and modern methods of placement of 10. Classification of Indian Musical Instruments
seven Swaras amongst Shrutis. Tat -Vitat, Sushir, Avnada, Ghan.
4. “Thaats” of Bhatkhande Explanation with examples.

Ten Thaats with name, swar, signs and basic 11. Eminent Musicians of Hindustani Music
rules.
The following musicians to be studied: Pt. Ravi
Shankar, Pt. Bhimsen Joshi.
5. Vadi Swar and time of Raga
Life sketch, work and achievements of the above.
Relationship between Vadi Swar and time of
raga, Purvang- Uttarang of day and Saptak. 12. Topics of general interest related to Music
Essay type questions of about 200 words will be
6. Laya asked on the above.
Definition of Laya and its types: Vilambit,
Madhya and Drut. 13. Brief History and knowledge of Tanpura
Drawing and labelling with description and
tuning.

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PAPER 2: PRACTICAL (30 Marks) 2. Singing of one Vilambit Khayal in any of the
The practical work is to be assessed by the teacher Ragas in Point 1.
and a Visiting Examiner appointed locally and 3. Identification of all the Ragas by listening to their
approved by the Council. Alaap.
1. Demonstration of the following Raga by singing 4. Singing of Ten Alankars in Shudh Swar.
"Chota Khayal" with Alap, and five Taans:
5. Recitation of the following Talas in Dugun and
(i) Bihag (ii) Bageshwari (iii) Kafi (iv) Bhairvi. Chaugun Laya:
(v) Malkauns (i) Chaartaal (ii) Dhamar (iii) Ektaal (iv) Roopak

PART 2: INSTRUMENTAL MUSIC
PAPER 1: THEORY (70 Marks) 3. Placement of Swaras on twenty-two Shrutis
Ancient and modern methods of placement of
1. Musical Terms and Forms seven Swaras amongst Shrutis.
(i) Naad
4. “Thaats” of Bhatkhande
Meaning, origin, types (Aahat, Anahat) and
qualities (Volume, Pitch, and Timbre). Ten Thaats with name, swar, signs and basic
rules.
(ii) Raga
Type of Raga: Poorva, Uttar, Sandi 5. Vadi Swar and time of Raga
Prakash, Shudha, Chhayalag, Sankirna Relationship between Vadi Swar and time of
(Meaning with examples). raga; Purvang-Uttarang of day and Saptak.

(iii) Forms of composition: Razakhani/Dhrut Gat, 6. Laya
Maseetkhani/Vilambit Gat.
Definition of Laya and its types: Vilambit,
Origin, development and characteristics to Madhya and Drut.
be done in detail.
7. Raga
(iv)Meend, Ghaseet, Soot, Andolan, Gamak,
(i) Bihag, Bageshwari, Kafi, Bhairavi, Malkauns
Kan, Alaap, and Jod-Alap.
Meaning, uses with examples, wherever (ii) Identification of Raga by written note-
combination
applicable.
(iii)Comparison and contrast between above
2. Systems of Indian Classical Music mentioned Raga.
Complete theory of the above mentioned Ragas
The Two systems of Indian Classical Music.
with special reference to their Swar, Thaat, Jaati,
Hindustani and Carnatic Music – comparative
Aaroh, Avaroh, Pakad, Vadi, Samvadi, Anuvadi,
study with reference to technique of usage, Swar, Vivadi, Varjya, Vikrit, Samprakriti Raga and
Taal, composition, instruments used and singing/playing time.
language.

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8. Notation of Talas 12. Topics of general interest related to Music.
Dhamar, Ektaal, Roopak, Chartaal Essay type questions of about 200 words will be
The above Taal with their Thekas, Tali, Khali, asked on the above.
Vibhag in Thah, Dugun, Tigun and Chaugun
Laya. 13. Brief History and knowledge of your
instrument
9. Notation of Bandish (Maseetkhani and Drawing and labelling with description and
Razakhani) tuning.
Sthai and antara with the mention of the name of
the raga (with its aaroh, avaroh) and taal with PAPER 2: PRACTICAL (30 Marks)
clear indication of Swar and Taal signs and bols The practical work is to be assessed by the teacher
of Gat. and a Visiting Examiner appointed locally and
Note: Razakhani in all Raga and One approved by the Council.
Maseetkhani of the candidate’s choice from the
1. Demonstration of the following Ragas by playing
Raga: Bihag, Bageshwari, Kafi, Bhairavi,
Razakhani/Drut Gat with five Todas and Jhala:
Malkauns.
(i) Bihag (ii) Bageshwari (iii) Kafi (iv) Bhairavi
10. Classification of Indian Musical Instruments (v) Malkauns
Tat -Vitat, Sushir, Avnada, Ghan. 2. Playing of one Maseetkhani Gat in any of the
Ragas in point 1.
Explanation of the above with examples.
3. Identification of all the Ragas by listening to their
11. Eminent Musicians of Hindustani Music Alaap.
The following musicians to be studied: 4. Playing of ten Alankars in Shudh Swar.
Pt. Ravi Shankar, Pt. Bhimsen Joshi. 5. Recitation of the following Taal in Dugun and
Life sketch, work and achievements of the above. Chaugun Laya:
(i) Chaartaal (ii) Dhamar (iii) Ektaal
(iv) Roopak

PART 3: INSTRUMENTAL MUSIC-PERCUSSION (TABLA)

PAPER 1: THEORY (70 Marks) 4. Compositions of Tabla
Tihai (Damdar/Bedam), Gat, Kayada, Palta, Rela,
1. History and knowledge of Tabla
Laggi, Ladi, Chakkardar Tukda, Paran.
Brief history of origin and evolution of tabla,
drawing and labelling with description and Definition and explanation with examples.
tuning.
5. Additional terms
2. Five Pranas of Taal Sam, Taali, Khali, Vibhag, Lehra (Nagma)
Grah, Jaati, Yati, Prastar, Laya Definition and explanation with examples.
Definition and explanation with sub divisions and
examples. 6. Talas

3. Classification of Indian musical Instruments: Jhaptaal, Dadra, Teental, Dhamar, Jhoomra,
Kaharwa
Tat -Vitat, Sushir, Avanadh, Ghan
Complete notation of the above in Thah, Dugun,
Definition and explanation with examples. Tigun, and Chaugun Laya with characteristics.

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7. Method of presentation PAPER 2: PRACTICAL (30 Marks)
Solo (Ekal) and accompaniment (Sangat). 1. The practical work is to be assessed by the
teacher and a Visiting Examiner appointed
Meaning, Solo presentation (order of
locally and approved by the Council.
performance); Playing technique while
accompanying with vocal and instrumental Playing of the following Talas on Tabla in Thah,
music. Dugun and Chaugun Layakari:

8. Eminent Musicians of Hindustani Music (i) Jhaptaal (ii) Dadra (iii)Teentaal (iv) Dhamar
(v) Jhoomra (vi) Kaharwa
The following musicians to be studied:
Pt. Kishan Maharaj, Ustad Ahmad Jaan Thirakwa 2. Keeping the Wazan of the Taal intact
Life sketch, work and achievements demonstration of the following:
(i) Four Kism in Kaharwa.
9. Topics of general interest related to Music (ii) Four Kism in Dadra.
Essay type question of about 200 words will be (iii) One Tukada, two Kism and one Kayada with
asked on the above. two paltas and Tihai in Jhaptal.
(iv) One Gat, One Laggi, One Ladi, one
Chakkardar Tukda and Paran, one Kayada
with two paltas and Tihai in Teentaal.
3. Accompaniment of Tabla (only Thekas) with
music played or sung.

(B) INDIAN MUSIC (CARNATIC) (873)
(May not be taken with Hindustani Music or Western Music)

CLASS XII

There will be two papers: 1. Todi 2. Saveri
Paper 1: Theory: 3 hours ..... 70 marks 3. Chakravakam 4. Bhairavi
Paper 2: Practical: ..... 30 marks 5. Anandha Bhairavi 6. Karaharapriya

PAPER 1: THEORY (70 Marks) 7. Shri Ranjani 8. Ritigoula

1. The fundamental technical terms and their 9. Mukhari 10. Harikambhoji
meanings (Ref. South Indian Music, Book 1 by P. 11. Natakuranji 12. Kedaragoula
Sambamoorthy, Chap. III, pp. 38-48).
13. Sahana 14. Kambhoji
2. Principles of Sa, re, ga, ma, notations as laid
15. Yadukulakambhoji 16. Sankarabharana
down in K.V. Srinivasa Iyengar's Music Books
and in P. Sambamoorthy's "South Indian Music 17. Hamsadhwani 18. Begada
Series", Significance of symbols commonly used.
19. Atana 20. Nata
3. Raga classification in Carnatic Music. The
21. Purvakalyani 22. Shanmukhapriya
scheme of the 72 Melakartas. The names of the
12 chakras. Katapayadi Formula and its 23. Kalyani 24. Saranga
application. 5. Manodharma Sangita and its forms - Paddati in
4. Lakshanas of the following 24 ragas: developing rage alpana and Kapana Svaras.
6. Dasavida gamakas (Ten gamakas).
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7. The scheme of the 35 Talas. Chapu tala and its 10. Classification of musical instruments into
varieties. Desadi and Madyadi talas, Kriya, Anga. stringed, wind and percussion group. A general
Laya, Gati, Matra (a detailed knowledge of two/ knowledge of the structure of the vina, violin
five pranas) shadhangas. tampuro, gottuvadyam and flute. Tuning of the
human voice and the compass of the concert
8. Musical forms and their association. An instruments of South India.
advanced knowledge of the following musical
forms: 11. Musical sound and voice. Pitch. Intensity and
timbre. Sympathetic vibration. Resonance.
1. Gita 2. Tana Verma Echoes, Musical intervals. Modal shift of tonic.
3. Padavarna 4. Kriti (Grahabhedam).
5. Ragamalika 6. Padam
PAPER 2: PRACTICAL (about 20 minutes)
7. Javali 8. Tillana – 30 Marks
9. History of Carnatic Music with special reference 1.Two padas of Kshetrajna. One Ragamalika.
to the following composers and theorists Two Tillanas. Two Javalis and the following
including their biographies and their compositions:
contributions to Carnatic Music. 10 out of 20 1. Todi Kaddanna Variki
must be known.
2. Saveri Sankari Sankuru
1. Jayadeva
3. Chakravakam Etula Brotuvo
2. Purandaradas
4. Bhairavi Neepadamule
3. Ramamatya 5. Anandha Bhairavi Nimadi Challaga
4. Somanatha 6. Karaharapriya Pakkala Nilabadi
5. Narayana Tirtha 7. Sri Ranjani Marubalka
6. Bhadrachala Ramadas 8. Harikambhoji Entharanidaya
7. Venkatamakhi 9. Natakuranji Manasuvishaya nata
8. Kshetrajna 10. Shana Rama Ikananu

9. Paidala Guruthy Sastri 11. Kambhoji Koniyadina napai
12. Sankarabharana Saroja dala netri
10. Tyagaraja
13. Hamsadhwani Vatapi ganapatim
11. Muthuswami Dikshitar
14. Begada Nadopasana
12. Syama Sastri
15. Atana Ilalo pranatharthi hara
13. Arunachalam Kavirayar
16. Purvi Kalyani Ninnu Vina gamari
14. Gopalakrishna Gharat 17. Shanmukhapriya Mariveredikkevaraiya rama
15. Svati Tirunal 18. Kalyani Ninnu Vina gati
16. Subbaraya Shastri 19. Saranga Neevada negana
17. Veena Kuppayyar Note: Candidates shall have the option of singing or
18. Mysore Sadasiva Rao playing these pieces or other classical pieces of an
equal standard.
19. Patnam Subramanya Iyar
20. Pallavi Seshayyar

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Candidates shall be expected to know in outline the In the practical examination, candidates may
meaning of at least six songs of the classical offer vocal music or one of the following:
composers learnt by them. Vina, Gottuvadyam, Violin, Balakokil, Flute or
2. Alapana of the following ragas Nagasvaram. A vocal candidate shall sing to the
sruti accompaniment of Tambura. A vocal
1. Todi 2. Saveri
candidate may sing playing the Tambura
3. Bhairavi 4. Anandha Bhairavi himself/herself or he/she may utilise the services
of another person to provide the Tambura
5. Mohana 6. Kedaragoula
accompaniment for him/her, provided this other
7. Kambhoji 8. Yadukula Kambhoji person is not a candidate for this same
examination.
9. Sankarabharana 10. Begada
11. Kalyani EVALUATION:
3. Ability The practical work is to be evaluated by the teacher
(i) to sing Kalpada swara for the songs learnt in and a Visiting Practical Examiner appointed locally
Todi, Bhairavi, Kambhoji, Sankarabharana and approved by the Council.
and Kalyani ragas and in Adi and Rupaka Marks will be distributed as follows:
talas;
• Practical Examination: 20 Marks
(ii) to sing or play a given musical passage in sa,
re, ga, ma notation in any of the prescribed • Evaluation by Visiting Practical 5 Marks
24 ragas. Examiner:
(iii) to give swaras for musical phrases sung or (of candidate’s overall performance
played; in the Practical Examination, based
(iv) to recognise ragas from alpanas heard or on sruthy, laya, tonal quality,
expression and music performance)
played; and
(v) to recognise the talas of unfamiliar songs • Evaluation by the Teacher: 5 Marks
heard or played. (of work done by the candidate
4. In addition to the individual tests there will also throughout the year.)
be common ear tests, sight-singing tests and
musical dictation at the practical examination.

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(C) WESTERN MUSIC (874)
(May not be taken with Hindustani Music or Carnatic Music)
CLASS XII

Pre-Requisite: PAPER 2: PRACTICAL WORK (30 Marks)
Candidates for the examination in Western Music Practical work will consist of six Aural Tests.
will be required to have passed Grade 5 in Theory Candidates will be required to attempt all six Tests.
and Grade 6 in Practicals of the Associated Board of
the Royal School of Music or the Trinity College of 1. Candidates will be required to write on a
Music or the London College of Music. monotone, pre-fixing the necessary time
There will be two papers: signature, a short rhythmical passage beginning
on the first beat of a bar. Compound time will not
Paper 1: Theory: 3 hours ….. 70 marks be included. After indicating the speed at which
Paper 2: Practical: … 30 marks the pulse of the music moves, the Examiner may
play the passage twice. After a short interval, he
PAPER 1: THEORY (70 Marks) will play it a third and a fourth time.
SECTION A 2. Candidates will be required to write from
(i) Harmony, etc. dictation a short melodic phrase, beginning on
the first beat of a bar, in either a major or a minor
Four-parts chords formed on all degrees of major and key. Before playing the passage, the Examiner
minor scales. First the second inversions, the will indicate the speed at which the pulse of the
dominant seventh chord and its inversions, music moves. The key will be named, and the
modulation to related keys and the simple use of keynote and tonic chord sounded. The phrase will
unessential notes. The tests may take the form of
then be played once throughout. It will then be
harmonization of a melody in four vocal parts or in
simple pianoforte style, the working of a figured on played twice in sections, at short intervals of
unfigured bass, or the construction of a phrase on a time, and finally the phrase will be repeated in its
given harmonic basis. entirety.
The addition of a melody, above or below a given 3. Candidates will be required to describe
melody, the writing of a melody to given words, or (e.g. 'perfect 5th') intervals which are diatonic in
the completion of a melody of which the beginning is major keys. Two such intervals will be given
given. Analysis of the rhythmic structure of a without the sounding of the keynotes. Each
melody, phrasing, etc. Analysis of harmonic interval will be played twice.
progressions including modulations, in a 4. Candidates will be required to recognise and
straightforward passage. name any of the following cadences - perfect,
SECTION B imperfect (half - close), plagal, interrupted -
occurring in a musical example in a major or a
Prescribed Works: minor key played by the Examiner. After the
Beethoven, Symphony No. 2 in major op 36 and one tonic chord has been sounded, the whole musical
of the following: sentence will be played through three times, with
(a) Bach, Prelude and Fugue No. 16 in G minor, due deliberation, at short intervals.
Book I. 5. Candidates will be required to recognise the three
(b) Schubert "Erl Kenig" (The Erl King). principal chords of a major or a minor key (in
root position and in first and second inversion) as
(c) Caesar Frank: the last movement from the violin played by the Examiner in a continuous musical
and piano sonata. phrase in a definite key. The phrase containing
the given chords will begin with a chord in root
position. It will be played four times at a
reasonably slow pace, and, before each playing,
the tonic chord will be sounded.
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6. Candidates will be required to recognise and EVALUATION:
name simple changes of key. Three examples The practical work is to be evaluated by the teacher
will be given, each starting from the same tonic and a Visiting Practical Examiner appointed locally
key. Three examples will be given, each starting and approved by the Council.
from the same tonic key, and containing one Marks will be distributed as follows:
modulation only. Modulations will be limited to
the dominant, sub-dominant, and relative major • Practical Examination: 20 Marks
or minor keys. After the key has been named and • Evaluation by Visiting Practical 5 Marks
the tonic chord has been sounded, each of the Examiner:
three examples will be played through twice. (of candidate’s Aural skills,
The test will not necessarily contain examples of presentation of written work and
overall confidence of the
modulations of three different keys; the same
candidate in the Practical
keys recur.
Examination)
A candidate will be at liberty to write down his • Evaluation by the Teacher: 5 Marks
answers to a particular test at any stage.
(of work done by the candidate
during the year)

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