ISC Class 12 Syllabus 2027 Music

ISC YEAR 2027

INDIAN SCHOOL CERTIFICATE
EXAMINATION

MUSIC

February 2025
____________________________________________________________________________________________

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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.

MUSIC

Aims:
One of the three following syllabuses may be
offered:
1. To encourage creative expression in music.
2. To develop the powers of musical appreciation. (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)

CLASSES XI & 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
Part 2 (Instrumental) and and a Visiting Practical Examiner appointed locally
and approved by CISCE.
Part 3 (Tabla)
EVALUATION:
Candidates will be required to offer one of the parts
of the syllabus. Marks will be distributed as follows:
• 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
PAPER 1: THEORY (70 Marks) and Laya, confidence, posture,
tonal 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
Music or Part 3: Instrumental Music Percussion (of work done by the candidate
(Tabla). during the year).
NOTE: Evaluation of Practical Work for Class XI
is to be done by the Internal Examiner.

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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. 8. Notation of Taal
Origin, development and characteristics to
be done in detail. Dhamar, Ektaal, Roopak, Chartaal.
The above Talas with their Thekas, Tali, Khali,
(iv) Meend, Andolan, Gamak, Kan, Alaap, Taan.
Vibhag in Thah, Dugun, Tigun and Chaugun
Meaning, uses with examples wherever Laya.
applicable.
9. Notation of Bandish (Chhota Khayal and Bada
2. Systems of Indian Classical Music 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
clear indication of Swar and Taal signs.
study with reference to technique of usage, Swar,
Taal, composition, instruments used and Note: Chhota Khayal in all Ragas and One Bada
language. Khayal of candidates choice from the Ragas
(Bihag, Bageshwari, Kafi, Bhairavi, Malkauns).
3. Placement of Swaras on twenty-two Shrutis
10. Classification of Indian Musical Instruments
Ancient and modern methods of placement of
seven Swaras amongst Shrutis. Tat -Vitat, Sushir, Avnada, Ghan.
Explanation with examples.
4. “Thaats” of Bhatkhande
11. Eminent Musicians of Hindustani Music
Ten Thaats with name, swar, signs and basic
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 12. Topics of general interest related to Music
raga, Purvang- Uttarang of day and Saptak.
Essay type questions of about 200 words will be
asked on the above.
6. Laya
Definition of Laya and its types: Vilambit, 13. Brief History and knowledge of Tanpura
Madhya and Drut. 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
Ragas in Point 1.
The practical work is to be assessed by the teacher
and a Visiting Examiner appointed locally and 3. Identification of all the Ragas by listening to their
approved by CISCE. 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
Ten Thaats with name, swar, signs and basic
qualities (Volume, Pitch, and Timbre). rules.
(ii) Raga
5. Vadi Swar and time of Raga
Type of Raga: Poorva, Uttar, Sandi
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.
(ii) Identification of Raga by written note-
Meaning, uses with examples, wherever combination
applicable.
(iii)Comparison and contrast between above
mentioned Raga.
2. Systems of Indian Classical Music
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 CISCE.
Maseetkhani of the candidate’s choice from the
Raga: Bihag, Bageshwari, Kafi, Bhairavi, 1. Demonstration of the following Ragas by playing
Malkauns. Razakhani/Drut Gat with five Todas and Jhala:
(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
Explanation of the above with examples. Ragas in point 1.
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) 3. Classification of Indian musical Instruments:

1. History and knowledge of Tabla Tat -Vitat, Sushir, Avanadh, Ghan

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

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6. Talas PAPER 2: PRACTICAL (30 Marks)
Jhaptaal, Dadra, Teental, Dhamar, Jhoomra, 1. The practical work is to be assessed by the
Kaharwa teacher and a Visiting Examiner appointed
Complete notation of the above in Thah, Dugun, locally and approved by CISCE.
Tigun, and Chaugun Laya with characteristics Playing of the following Talas on Tabla in Thah,
7. Method of presentation Dugun and Chaugun Layakari:
Solo (Ekal) and accompaniment (Sangat). (i) Jhaptaal (ii) Dadra (iii)Teentaal (iv) Dhamar
Meaning, Solo presentation (order of (v) Jhoomra (vi) Kaharwa
performance); Playing technique while 2. Keeping the Wazan of the Taal intact
accompanying with vocal and instrumental demonstration of the following:
music.
(i) Four Kism in Kaharwa.
8. Eminent Musicians of Hindustani Music (ii) Four Kism in Dadra.
The following musicians to be studied: (iii) One Tukada, two Kism and one Kayada with
two paltas and Tihai in Jhaptal.
Pt. Kishan Maharaj, Ustad Ahmad Jaan Thirakwa (iv) One Gat, One Laggi, One Ladi, one
Life sketch, work and achievements Chakkardar Tukda and Paran, one Kayada
with two paltas and Tihai in Teentaal.
9. Topics of general interest related to Music
3. Accompaniment of Tabla (only Thekas) with
Essay type question of about 200 words will be music played or sung.
asked on the above.

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

CLASSES XI & XII
There will be two papers: 3. Raga classification in Carnatic Music. The
scheme of the 72 Melakartas. The names of the
Paper 1: Theory: 3 hours ..... 70 marks
12 chakras. Katapayadi Formula and its
Paper 2: Practical: ..... 30 marks application.
4. Lakshanas of the following 24 ragas:
PAPER 1: THEORY (70 Marks)
1. Todi 2. Saveri
Candidates will be required to answer five questions
in all. 3. Chakravakam 4. Bhairavi
1. The fundamental technical terms and their 5. Anandha Bhairavi 6. Karaharapriya
meanings (Ref. South Indian Music, Book 1 by P. 7. Shri Ranjani 8. Ritigoula
Sambamoorthy, Chap. III, pp. 38-48).
9. Mukhari 10. Harikambhoji
2. Principles of Sa, re, ga, ma, notations as laid
down in K.V. Srinivasa Iyengar's Music Books 11. Natakuranji 12. Kedaragoula
and in P. Sambamoorthy's "South Indian Music 13. Sahana 14. Kambhoji
Series", Significance of symbols commonly used.
15. Yadukulakambhoji 16. Sankarabharana

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17. Hamsadhwani 18. Begada 15. Svati Tirunal
19. Atana 20. Nata 16. Subbaraya Shastri
21. Purvakalyani 22. Shanmukhapriya 17. Veena Kuppayyar
23. Kalyani 24. Saranga 18. Mysore Sadasiva Rao
5. Manodharma Sangita and its forms - Paddati in 19. Patnam Subramanya Iyar
developing rage alpana and Kapana Svaras. 20. Pallavi Seshayyar
6. Dasavida gamakas (Ten gamakas). 10. Classification of musical instruments into
7. The scheme of the 35 Talas. Chapu tala and its stringed, wind and percussion group. A general
varieties. Desadi and Madyadi talas, Kriya, Anga. knowledge of the structure of the vina, violin
Laya, Gati, Matra (a detailed knowledge of two/ tampuro, gottuvadyam and flute. Tuning of the
five pranas) shadhangas. human voice and the compass of the concert
instruments of South India.
8. Musical forms and their association. An
advanced knowledge of the following musical 11. Musical sound and voice. Pitch. Intensity and
forms: timbre. Sympathetic vibration. Resonance.
Echoes, Musical intervals. Modal shift of tonic.
1. Gita 2. Tana Verma (Grahabhedam).
3. Padavarna 4. Kriti
PAPER 2: PRACTICAL (about 20
5. Ragamalika 6. Padam
minutes) – 30 Marks
7. Javali 8. Tillana
Two padas of Kshetrajna. One Ragamalika. Two
9. History of Carnatic Music with special reference Tillanas. Two Javalis and the following
to the following composers and theorists compositions:
including their biographies and their
1. Todi Kaddanna Variki
contributions to Carnatic Music. 10 out of 20
must be known. 2. Saveri Sankari Sankuru
1. Jayadeva 3. Chakravakam Etula Brotuvo
4. Bhairavi Neepadamule
2. Purandaradas
5. Anandha Bhairavi Nimadi Challaga
3. Ramamatya
6. Karaharapriya Pakkala Nilabadi
4. Somanatha
7. Sri Ranjani Marubalka
5. Narayana Tirtha
8. Harikambhoji Entharanidaya
6. Bhadrachala Ramadas 9. Natakuranji Manasuvishaya nata
7. Venkatamakhi 10. Shana Rama Ikananu
8. Kshetrajna 11. Kambhoji Koniyadina napai
9. Paidala Guruthy Sastri 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
17. Shanmukhapriya Mariveredikkevaraiya rama
14. Gopalakrishna Gharat
18. Kalyani Ninnu Vina gati

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19. Saranga Neevada negana In the practical examination, candidates may
Note: Candidates shall have the option of singing or offer vocal music or one of the following:
playing these pieces or other classical pieces of an Vina, Gottuvadyam, Violin, Balakokil, Flute or
equal standard. Nagasvaram. A vocal candidate shall sing to the
sruti accompaniment of Tambura. A vocal
Candidates shall be expected to know in outline the candidate may sing playing the Tambura
meaning of at least six songs of the classical himself/herself or he/she may utilise the services
composers learnt by them. of another person to provide the Tambura
2. Alapana of the following ragas accompaniment for him/her, provided this other
person is not a candidate for this same
1. Todi 2. Saveri
examination.
3. Bhairavi 4. Anandha Bhairavi
5. Mohana 6. Kedaragoula EVALUATION:

7. Kambhoji 8. Yadukula Kambhoji The practical work is to be evaluated by the teacher
and a Visiting Practical Examiner appointed locally
9. Sankarabharana 10. Begada and approved by CISCE.
11. Kalyani (Note: For Class XI, Evaluation of Practical is to be
done by the Internal Examiner.)
3. Ability
Marks will be distributed as follows:
(i) to sing Kalpada swara for the songs learnt in
Todi, Bhairavi, Kambhoji, Sankarabharana • Practical Examination: 20 Marks
and Kalyani ragas and in Adi and Rupaka
• Evaluation by Visiting Practical 5 Marks
talas;
Examiner:
(ii) to sing or play a given musical passage in sa,
re, ga, ma notation in any of the prescribed (of candidate’s overall performance
24 ragas. in the Practical Examination, based
on sruthy, laya, tonal quality,
(iii) to give swaras for musical phrases sung or expression and music performance)
played;
• Evaluation by the Teacher: 5 Marks
(iv) to recognise ragas from alpanas heard or
played; and (of work done by the candidate
throughout the year.)
(v) to recognise the talas of unfamiliar songs
heard or played.
4. In addition to the individual tests there will also
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)

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

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position. It will be played four times at a EVALUATION:
reasonably slow pace, and, before each playing, The practical work is to be evaluated by the teacher
the tonic chord will be sounded. and a Visiting Practical Examiner appointed locally
6. Candidates will be required to recognise and and approved by CISCE.
name simple changes of key. Three examples (Note: For Class XI, Evaluation of Practical is to be
will be given, each starting from the same tonic done by the Internal Examiner.)
key. Three examples will be given, each starting Marks will be distributed as follows:
from the same tonic key, and containing one • Practical Examination: 20 Marks
modulation only. Modulations will be limited to
the dominant, sub-dominant, and relative major • Evaluation by Visiting Practical 5 Marks
or minor keys. After the key has been named and Examiner:
the tonic chord has been sounded, each of the (of candidate’s Aural skills,
three examples will be played through twice. presentation of written work and
overall confidence of the
The test will not necessarily contain examples of candidate in the Practical
modulations of three different keys; the same Examination)
keys recur.
• Evaluation by the Teacher: 5 Marks
A candidate will be at liberty to write down his (of work done by the candidate
answers to a particular test at any stage. during the year)

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