CBSE Class 10 Sample Paper 2025 Solution for Hindustani Music Melodic, Percussion, Vocal

CENTRAL BOARD OF SECONDARY EDUCATION

SAMPLE PAPER
CLASS 10
2025

Solutions

HINDUSTANI MUSIC
Melodic Instrument Code-035
MARKING SCHEME
CLASS X (2024-25)

One Theory Paper – 2 hrs Total Marks – 30

S.No. SECTION-A Marks
1. 3. Tilwada 1
2. 2. Onkar Nath Thakur 1
3. 1. 12th beat of Teentala 1
4. 4. A & C 1
5. 2. B, C, D 1
6. 3. A - III, B - I, C - IV, D – II 1
7. 1. Statement I is true & II is false 1
8. 4. Statement I and II are false 1
SECTION-B

9. Definition of Dhrupad, Parts of composition and Banis. Definition of Meend 2
with varieties and sign with illustrations.
Tansen’s brief life sketch and his contributions to Music.

10. Identifying Raga Bhupali from its swaras. Elaborating the Chalan of Bhupali 2
up to 50 swaras.
Various parts of the instrument and the notes in which each string is tuned
are to be given.
11. Main salient feature of Razakhani Gat-who invented this, Tala in which 2
played, Bol and Laya etc.
Inayat Khan’s birth, musical teaching Learning, specialties of his style and
contribution to music.

12. 2
Describe Aalap and Kan with suitable example such as S R M, M R, N. S.
and RG Purva Lagan Kan etc.
Give Thaat, Vadi, Samvadi, Aroh, Avroh, Pakad, nature of swaras used,
number of swaras used, Jati and Time etc. of Raga Khamaj.

13. How Allaudin Khan has enriched Indian Music with his creation, style and 2
teaching are to be given.
Specialties of Maseetkhani Gat, Tala, Laya, Bol, Starting beat and inventor
of this Gat etc.
SECTION-C

14. Writing of Maseetkhani Gat’s Sthai, Antra with Swara and Bol, Matra, 6
Vibhag, Signs and two Todas too.
Describe main features of Brindavani Sarang and writing its Sthai and Antra
with two Tanas along with Bol, Matra, Vibhag and Signs.

15. Writing one Tala with Dugun and Chaugun in Tala Notation and other Tala 6
with Tigun and Chaugun in Tala Notation, i.e. Bol, Matra, Vibhag and Signs.
Style of any one present day artist of the instrument you have opted for, i.e.
way of playing, prominent ragas, talas, techniques and accompanying
instruments used etc.

HINDUSTANI MUSIC
Percussion Instrument
Code-036
MARKING SCHEME
CLASS X (2024-25)

One Theory Paper – 2 hrs Total Marks – 30

S.No. SECTION-A Marks
1. 3 1
2. 4 1
3. 2 1
4. 2 1
5. 2 1
6. 2 1
7. 1 1
8. 2 1
SECTION-B

9. The candidate is expected to explain term of Tukda, Bols, Matra, Vibhag, 2
Tali & Khali with example.
The candidate is expected to explain term and Paran, Bols, Matra, Vibhag,
Tali & Khali with example.
10. The candidate is expected to explain about founder, style, specialty, artist of 2
Delhi Gharana.
The candidate is expected to write about Nana Panse’s Style, specialty &
artist.
11. The candidate is expected to do notation with Bols, Matra, Vibahg, Tali & 2
Khali of Ektala.
The candidate is expected to do notation with Bols, Matra, Vibhag, Tali &
Khali of Chautala.

12. The candidate is expected to give details from Avanaddha Vadyadhye in 2
Natyashastra about Urdhavak.
The Candidate is expected to give details from Natyashastra about Aankik.

13. The candidate is expected to recognize tala from indications and write its 2
Dugun in Tala Notation system with Bols, Matra, Tali, Vibhag & Khali.
The Candidate is expected to recognize tala from indications and write its
Dugun in Tala Notation System with Bol, Matra, Tali, Vibhag & Khali.
SECTION-C

14. The candidate is expected to explain term of Kayda, speciality, composition, 6
Bols & Notation of Kayda in Ektala.
The Candidate is expected to explain terms of Rela, speciality composition,
Bols & Notation of Rela in Chautala.

15. The candidate is expected to developed and improvise composition in 6
Notation, Bols, Tali & Khali of the gharana whose specialities are given by
him/her.
The candidate is expected to discuss the playing style, compositions,
developing in a Tala, Laya and Layakaris presented by any one present day
artist as Sola and accompaniment.

HINDUSTANI MUSIC
Vocal (Code-034)
MARKING SCHEME
CLASS X (2024-25)

One Theory Paper – 2 hrs Total Marks – 30

S.No. SECTION-A Marks
1. 3. Haridas 1
2. 2. Ti 1
3. 1. ReGa 1
4. 2. A & C 1
5. 4. C & D 1
6. 3. A - III, B - II, C - I, D – IV 1
7. 3. Statement I is true but II is false 1
8. 4. Statement I is false but II is true 1
SECTION-B

9. A brief explanation of terms Meend, Aalap, Tarana (any two) with examples. 2
The candidate is expected to write date and place of birth, style, gharana,
disciples, achievements and contribution to music of Sadarang.

10. The candidate is expected to write Thaat, Vadi, Samvadi, Jati, Time of 2
singing, Swaras, Similar raga, Aroha, Avroha, Pakad and other special
features of Raga Khamaj.
The candidate is expected to identify Raga Brindavani Sarang and
elaborate the identified raga upto 50 swaras.
11. The candidate is expected to write about Faiyaz Khan’s date and place of 2
birth, parentage, education, gharana, guru, style, disciples, achievements
and contribution to Indian Music.
The candidate is expected to give a description of Dhrupad and also write
its four Banis.
12. A brief explanation of Tana and its types with examples. 2
The candidate is expected to explain Thaat, Vadi, Samvadi, Swaras, Jati,
Time of singing, Similar raga, Aroha, Avroha, Pakad and other special
features of Raga Brindavani Sarang.

13. The candidate is expected to write the special features of chautala and also 2
write its Tigun and Chaugun in Tala Notation.
The candidate is expected to write place and date of birth, parentage,
education, guru, gharana, style, disciples, achievements and contribution to
music of Omkar Nath Thakur.
SECTION-C

14. The candidate is expected to give a detailed description of Raga Bhupali 6
and write the notation of a Drut Khayal of Bhupali in proper format of
notation system along with Two Tanas.
The candidate is expected to write the notation of a Vilambit Khayal with
two tanas in any one prescribed Raga.
15. The candidate is expected to draw a neat diagram of Tanpura and lable it 6
and also describe the technique of tuning it.
The candidate is expected to write about the gharana, style, techniques,
disciples etc. of any present time musician of his/her choice.

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