ISC Class 11 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 XI
PART 1: VOCAL MUSIC

PAPER 1: THEORY (70 Marks) The above Ragas with special reference to their
notes Thaat, Jaati, Aaroh, Avaroh, Pakad, Vadi,
1. Introduction to Musical Terms Samvadi, Anuvadi, Vivadi, Varjya, Vikrit,
(i) Dhwani Singing/Playing Time with examples.
Meaning, origin, types (Naad and 4. Taal and Taal-lipi
Kolahal/noise).
Notation of the following ‘Talas’: Teentaal,
(ii) Shruti Dadra, Kaharwa, Jhaptaal.
Meaning and origin.
The above Talas with their Thekas, Tali, Khali,
(iii) Swar Vibhag in Thah, dugun and chaugun laya.
Meaning of Swar and types {Shudha,
Vikrit (Tivra, Komal) Vadi, Samvadi, 5. Swarlipi of Chota Khayal
Anuvadi, Vivadi, Varjya, Vakra, Grah, Ansh,
Nyas: Meaning with examples}. Notation of the following Ragas: Yaman,
Bhupali, Khamaj, Bhairav, Desh
(iv) Saptak
Sthai and antara with the mention of the name of
Meaning and types (Mandra, Madhya and the Raga (with its Aaroh, Avaroh) and Taal with
Taar) with symbol. clear indication of Swar and Taal signs.
(v) Thaat
Meaning, types, rules, number and names 6. Eminent Musicians of Hindustani Music
with examples in Bhatkhande system. The following musicians to be studied: Vishnu
(vi) Raga Narayan Bhatkhande, Vishnu Digambar
Paluskar.
(a) Meaning of Raga; Types (Janak, Janya-
Meaning with examples). Life sketch, work and achievements.
(b) Jati of Raga (Odava, Shadava and
Sampoorna -Meaning and their nine 7. Topics of general interest related to Music
Upjatis). Essay type questions of about 200 words will be
(vii) Varna asked on the above.
Meaning and types with examples (Sthayi,
Aarohi, Avarohi and Sanchari).
PAPER 2: PRACTICAL (30 Marks)
(viii) Alankar 1. Demonstration of the following Ragas by singing
Chota Khayal with five Taans:
Meaning and example in Shudh Swar.
(i)Yaman (ii) Bhupali (iii) Khamaj (iv) Bhairav
(ix) Taal (v) Desh
Meaning and examples of Matra, Tali, Khali,
Vibhag, Sam, Theka, Aavartan, Thah 2. Recitation of the following Talas in Thah, Dugun
(Ekgun), Dugun and Chaugun. and Chaugun. Laya showing various divisions by
Tali and Khali with hand gestures (Padhant):
2. Forms of Composition (i) Teentaal
(ii) Dadra
Khayal (Bada Khayal and Chhota Khayal)
(iii) Kaharwa
Origin, meaning, characteristics and
(iv) Jhaptaal
comparative study.
3. Singing five Alankars.
3. Introduction to Ragas 4. Singing of a devotional or folk song of the
Yaman, Bhupali, Khamaj, Bhairav, Desh. candidate’s choice.

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PART 2: INSTRUMENTAL MUSIC

PAPER 1: THEORY (70 Marks) 3. Introduction to Ragas
Yaman, Bhupali, Khamaj, Bhairav, Desh.
1. Introduction to Musical Terms
The above Ragas with special reference to their
(i) Dhwani notes Thaat, Jaati, Aaroh, Avaroh, Pakad, Vadi,
Meaning, origin, types (Naad and Kolahal/ Samvadi, Anuvadi, Vivadi, Varjya, Vikrit,
noise). Singing/Playing Time with examples.
(ii) Shruti 4. Taal and Taal-lipi
Meaning and origin. Notation of the following ‘Talas’: Teentaal,
Dadra, Kaharwa, Jhaptaal.
(iii) Swar
The above Talas with their Thekas, Tali, Khali,
Meaning of Swar and types {Shudha, Vikrit Vibhag in Thah, dugun and chaugun laya.
(Tivra, Komal) Vadi, Samvadi, Anuvadi,
Vivadi, Varjya, Vakra, Grah, Ansh, Nyas: 5. Swarlipi of Razakhani/Drut Gat
Meaning with examples}. Notation of the following Ragas: Yaman,
(iv) Saptak Bhupali, Khamaj, Bhairav, Desh.
Meaning and types (Mandra, Madhya and Sthai and antara with the mention of the name of
Tar) with symbol. the Raga (with its Aaroh, Avaroh) and Taal with
clear indication of Swar and Taal signs and bols
(v) Thaat of Gat.
Meaning, types, rules, number and name with 6. Eminent Musicians of Hindustani Music
example in Bhatkhande system.
The following musicians to be studied: Vishnu
(vi) Raga Narayan Bhatkhande, Vishnu Digambar
(a) Meaning of Raga; Types (Janak, Janya- Paluskar.
Meaning with examples). Life sketch, work and achievements of the above.
(b) Jati of Raga (Odava, Shadava and 7. Topics of general interest related to Music
Sampoorna - Meaning and their nine
Upjatis). Essay type questions of about 200 words will be
asked on the above.
(vii)Varna
Meaning and types with example (Sthayi, PAPER 2: PRACTICAL (30 Marks)
Aarohi, Avarohi and Sanchari).
1. Demonstration of following Ragas by playing
(viii)Alankar Razakhani/ Drut Gat with Five Todas.
Meaning and example in Shudh Swar. (i)Yaman (ii) Bhupali (iii) Khamaj (iv) Bhairav
(ix) Taal (v) Desh
Meaning and examples of Matra, Tali, Khali, 2. Recitation of the following Talas in Thah, Dugun
Vibhag, Sam, Theka, Aavartan, Thah and Chaugun. Laya showing various divisions by
(Ekgun), Dugun and Chaugun. Tali and Khali with hand gestures (Padhant):
2. Types and techniques of String Instruments (i) Teentaal (ii) Dadra (iii) Kaharwa
Types: Chal Thaat and Achal Thaat; Techniques: (iv) Jhaptaal
Krintan, Zamzama, Murki, Khatka, Kampan. 3. Playing five Alankars.
Origin, meaning, characteristics and 4. One Dhun to be played on any Raga either from
comparative study.
the syllabus or any other Raga of the candidate’s
choice.

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PART 3: INSTRUMENTAL MUSIC-PERCUSSION (TABLA)

PAPER 1: THEORY (70 Marks) PAPER 2: PRACTICAL (30 Marks)
1. Eminent Musicians of Hindustani Music 1. Playing the following Talas on Tabla in Thah
The following musicians to be studied: Vishnu Dugun and Chaugun Layakari:
Narayan Bhatkhande, Vishnu Digambar (i) Teentaal
Paluskar.
(ii) Ektaal
Life sketch, work and achievements of the above. (iii) Chaartaal
2. Terms related to Tabla (iv) Rupak
Theka, Avartan, Kism, Tukda, Mukhda, Mohra, (v) Tivra
Uthaan, Paran, Peshkara. 2. Keeping the Wazan of the Taal intact,
Meaning and examples of the above. demonstration of the following:
3. Taal and Taal-lipi (i) One Peshkara, One Uthaan, One Kayada with
Teentaal, Ektaal, Chaartaal, Rupak, Tivra. four Paltas and Tihai in Teentaal.
Complete notation of the above Talas with their (ii) One Tihai in Teentaal.
Thekas, Tali, Khali, Vibhag in Thah, Dugun and
Chaugun Laya and their characteristics. (iii) One Paran in Chaartaal
4. Five Pranas of Taal (iv) One Tukda in Ektaal
Kaal, Marg, Kriya, Ang, Kala. (v) One Kism each in Rupak and Tivra
Definition with examples. 3. Identification and production of syllables on
5. Syllables of Tabla Tabla.
Technique of producing syllables of Tabla 4. Accompaniment of Tabla (only Thekas) with
(Dahina and Bayan) individually and jointly. music played or sung.
6. Topics of general interest related to Music
5. Knowledge of Lehra.
Essay type question of about 200 words will be
asked on the above.

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