Maharashtra HSC Syllabus Music

192

Vocal Light Music (66)
Std. XI
Introduction 3. Describe the life sketches of well known
Music plays a very significant role in Musicians, Instrumentalists &
National and State Board’s Art Education Musicologists
Curriculum. Since there is a lot of scope to 4. List the guidelines for appreciation of
develop the creativity of the students in Art Music
Education, The curriculum of music would 5. Classify Musical Instruments of India into
definitely help in developing the hidden various categories.
qualities of the students. 6. Modern Musical Form
Human life gets enriched due to Art 7. The importance of Music in everyday and
that’s why Art has been given significance in social life.
the curriculum. While restructuring the 8. Place of Music in education
curriculum the students have been given the 9. The use of Modern Musical Aids in Music
opportunities as per their age and interest and 10. Recognize Musical Notes.
due to that his ability to express & stage daring 11. The Sing/play different Ragas
would increase surely. The student would take 12. Write and recite Theka bols of Talas with
pleasure after the study of each unit. They demonstration
would do introspection. In this way only they 13. Write notation of Song and Talas
would become professionals like artists, 14. sing/play different forms with Gayaki Anga
teachers, accompanists etc. 15. Live stage performance (Majlis) with
It is also possible to make use of music accompaniment – similarly
in co-curricular activities. Self-study has a 1. To help for self-employment
great importance in music and thus the 2. For realisation of rich heritage of
curriculum also aims to inculcate the value and music
importance of ‘RIYAZ’ in the students. 3. To inculcate moral values like unity,
Objectives : equality, brotherhood etc.
After completing the syllabus in ‘Indian 4. To co-relate for the teaching of other
Music’, the students will come to know – subjects.
1. History and Development of Indian Music 5. Application of Music for
2. Vocal Light Music advertisements, industries etc.
3. Vocal Classical Music 'Indian Music' consists of the following Four
4. Instrumental Music Subject :
The student will be able to 1) History and Development of Indian Music.
1. Define technical terms in Indian Music. (Theory) - 65
2. Differentiate between the characteristics 2) Vocal Light Music (Practical) - 66
of main school of Khyal 3) Vocal classical Music (Practical) - 67
singing 4) Instrumental Music (Practical) - 68

193

Choice of Subject : 2 Alankar 2.1. Shuddha Swaras
i) Each of the four subjects mentioned above 3 Theory of
under. 'Indian Music' is considered for Ragas 3.1 Yaman.
100 marks. 3.2 Durga
ii) 'History and Development of Indian 3.3 Bhoopali
Music' (Theory) shall be compulsory for 3.4 Bihag
all students offering 'Indian Music' i.e. - 3.5 Bhimpalas.
Practical Subjects 4 Theory of 4.1 Trital
iii) The theory paper called 'History and Talas with 4.2 Ektal.
Development of Indian Music' can be demonstration 4.3 Kerva.
chosen independently. 4.4 Dadra.
iv) But while choosing the Practical Papers 4.5 Dhumali.
i.e. Vocal Light Music OR Vocal Classical 5 Presentation 5.1 Natya Geet
Music OR instrumental Music, it is (Any Two)
compulsory to take the subject called in following Ragas.
'History and develop of Indian Music'. 5.1.1 Bhoopali.
v) Student can choose any one practical 5.1.2 Yaman
subject from Three Practical Subjects. 5.1.3 Bihag
(Vocal Light Music-66, Vocal Classical 5.1.4 Durga
Music-67 and Instrumental Music-68). 5.1.5 Bhimpalas
6 Specific forms 6.1 Abhang (Any 2)
Implementation of the Music Practical presentation 6.2 Bhavgeet (Any 2)
Subjects 6.3 Group-Song (Any 2)
1. For Teaching a Music Practical Subjects 6.4 Folk Song (Any 1)
(Sub.No.66, 67, 68). The maximum 6.5 Environment Song.
number of students in one batch should be (Any 1)
Twenty only. 7 Definition 7.1 Tala Anga -
2. For Vocal Light & Vocal Classical Music Technical terms
(66, 67) there should be separate batches Sam, Kal, Matra,
for boys and girls, based on the Natural Khand, Tali, Laya,
Vocal Limitations. Avartan.
3. There should be six periods in a week 7.2 Raga Anga-Sangeet,
(one period – every day) for all music Swara,
practical subjects per batch. (Shuddha&Vikrit)
Thaat, Aroha,
Curriculum Avaroh, Vadi,
S.No. Unit Sub.Unit Samvadi, Saptak,
1 Swara 1.1 Shuddha Swara Jati, Gansamay.
1.2 Vikrit Shwara 8 Presentation 8.1 Sargam (Any two)

194

in prescribed Raga. 4. Instrumental Music
9 Notation Sargam (Any one) The student will be able to
in prescribed Raga. 1. Define Technical Terms in Indian Music.
10 Practical 2. Differentiate between the characteristics
(Record Book) of main school of Khyal
singing
Vocal Light Music - Std. XII 3. Describe the life sketches of well known
Musicians, Instrumentalists &
Introduction Musicologists
4. List the guidelines for appreciation of
Music plays a very significant role in
National and State Board’s Art Education Music
Curriculum. Since there is a lot of scope to 5. Classify Musical Instruments of India into
develop the creativity of the students in Art various categories.
Education. The curriculum of music would 6. Modern Musical Form
definitely help in developing the hidden 7. The importance of Music in everyday and
qualities of the students. social life.
Human life gets enriched due to Art 8. Place of Music in education
that’s why Art has been given significance in 9. The use of Modern Musical Aids in Music
the curriculum. While restructuring the 10. Recognize Musical Notes.
curriculum the students have been given the 11. The sing/play different Ragas
opportunities as per their age and interest and 12. Write and recite Theka bols of Talas with
due to that his ability to express & stage daring demonstration
would increase surely. The student would take 13. Write notation of Song and Talas
pleasure after the study of each unit. They 14. sing/play different forms with Gayaki Anga
would do introspection. In this way they 15. Live stage performance (Majlis) with
would become professionals like artists, accompaniment – similarly
teachers, accompanists etc. 1. To help for self-employment
It is also possible to make use of music 2. For realisation of rich heritage of
in co-curricular activities. Self-study has a music
great importance in music and thus the 3. To inculcate moral values like unity,
curriculum also aims to inculcate the value and equality, brotherhood etc.
importance of ‘RIYAZ’ in the students. 4. To co-relate for the teaching of other
Objectives subjects.
After completing the syllabus in ‘Indian 5. Application of Music for
Music’, the students will come to know – advertisements, industries etc.
1. History and Development of Indian Music 'Indian Music' consists of the following Four
2. Vocal Light Music Subject :
3. Vocal Classical Music 1) History and Development of Indian Music.
(Theory) - 65

195

2) Vocal Light Music (Practical) - 66 4.2 Roopak.
3) Vocal classical Music (Practical) - 67 4.3 Kawwali.
4) Instrumental Music (Practical) - 68 4.4 Zaptal..
Choice of Subject : 5 Presentation 5.1 Natya Geet
i) Each of the four subjects mentioned above (Natya Geet of
under. 'Indian Music' is considered for one dramatist one
100 marks. from A and B
ii) 'History and Development of Indian Group)
Music' (Theory) shall be compulsory for 5.1.1-A– K.P.Khadilkar.
all students offering 'Indian Music' i.e. - R.G.Gadkari.
Practical Subjects G.B.Deval.
iii) The theory paper called 'History and Annasaheb
Development of Indian Music' can be Kirloskar
chosen independently. 5.1.2 -B-Vidyadhar
iv) But while choosing the Practical Papers Gokhale.
i.e. Vocal Light Music OR Vocal Classical V.V.Shirwadkar.
Music OR instrumental Music, it is Purushottam
compulsory to take the subject called Darvekar.
'History and develop of Indian Music'. Vasant Kanetkar.
v) Student can choose any one practical 5.2 Gayaki.
subject from Three Practical Subjects. 6 Presentation 6.1 To sing Sargam
(Vocal Light Music-66, Vocal Classical with Aroh-
Music-67 and Instrumental Music-68). Avaroh in
prescribed Raga.
Sr.No. Unit Sub.Unit
(Any two)
1 Swara 1.1 Shuddha Swara
7 Specific forms 7.1 Group-Song
1.2 Vikrit Shwara
presentation (One)
2 Alankar 2.1. Shuddha Swaras
7.2 Folk Song (One)
3 Theory of 3.1 Pilu.
8 National 8.1 Jan-gan-man.
Ragas 3.2 Des.
Anthem 8.2 Vande mataram.
3.3 Pahadi.
9 Definition- 9.1 Tal Anga – Sam,
3.4 Mand.
Technical turms. Kal, Matra,
3.5 Kafi.
Khand, Tali,
3.6 Khamaj
Avartan, Laya.
3.7 Tilang.
9.2 Raga Anga –
3.8 Bhairavi.
Sangeet, Shuddha
4 Theory & 4.1 All talas
and Vikrit
demonstration prescribal for
swara, Thaat,
of Talas. Std.XI.

196

Jati, Vadi, 10 Notation 10.1 Sargam Notation
Samvadi, writing any one Ragas.
Gan samay 10.2 Natya Geet- write
9.3 Gayaki Anga – the notation of
Alap, Taan, any one
Meend, Kan, Natyageet in
Murki. prescribed Raga.
11 Practical
(Record Book)

197

Vocal Classical Music (67)
Std. XI
Introduction : 3. Describe the life sketches of well known
Music plays a very significant role in Musicians, Instrumentalists &
National and State Board’s Art Education Musicologists
Curriculum. Since there is a lot of scope to 4. List the guidelines for appreciation of
develop the creativity of the students in Art Music
Education, The curriculum of music would 5. Classify Musical Instruments of India into
definitely help in developing the hidden various categories.
qualities of the students. 6. Modern Musical Form
Human life gets enriched due to Art 7. The importance of Music in everyday and
that’s why Art has been given significance in social life.
the curriculum. While restructuring the 8. Place of Music in education
curriculum the students have been given the 9. The use of Modern Musical Aids in Music
opportunities as per their age and interest and 10. Recognize Musical Notes.
due to that his ability to express & stage daring 11. The Sing/play different Ragas
would increase surely. The student would take 12. Write and recite Theka bols of Talas with
pleasure after the study of each unit. They demonstration
would do introspection. In this way only they 13. Write notation of Song and Talas
would become professionals like artists, 14. sing/play different forms with Gayaki Anga
teachers, accompanists etc. 15. Live stage performance (Majlis) with
It is also possible to make use of music accompaniment – similarly
in co-curricular activities. Self-study has a 1. To help for self-employment
great importance in music and thus the 2. For realisation of rich heritage of
curriculum also aims to inculcate the value and music
importance of ‘RIYAZ’ in the students. 3. To inculcate moral values like unity,
Objectives equality, brotherhood etc.
After completing the syllabus in ‘Indian 4. To co-relate for the teaching of other
Music’, the students will come to know subjects.
1. History and Development of Indian Music 5. Application of Music for
2. Vocal Light Music advertisements, industries etc.
3. Vocal Classical Music 'Indian Music' consists of the following Four
4. Instrumental Music Subject :
The student will be able to 1) History and Development of Indian Music.
1. Define technical terms in Indian Music. (Theory) - 65
2. Differentiate between the characteristics 2) Vocal Light Music (Practical) - 66
of main school of Khyal singing 3) Vocal classical Music (Practical) - 67

198

4) Instrumental Music (Practical) - 68 1.2 Vikrit Swara.
Choice of Subject : 2. Alankar 2.1 Shuddha Swara’s
i) Each of the four subjects mentioned above 3. Theory of 3.1 Khamaj
under. 'Indian Music' is considered for Ragas. 3.2 Durga
100 marks. 3.3 Kafi
ii) 'History and Development of Indian 3.4 Bihag
Music' (Theory) shall be compulsory for 3.5 Bhairavi
all students offering 'Indian Music' i.e. - 3.6 Alhiyya Bilawal
Practical Subjects 3.7 Yaman
iii) The theory paper called 'History and 3.8 Bhoopali
Development of Indian Music' can be 3.9 Bhimpalas
chosen independently. 4. Theory & 4.1 Trital
iv) But while choosing the Practical Papers demonstration 4.2 Ektal
i.e. Vocal Light Music OR Vocal Classical of Talas 4.3 Zaptal
Music OR instrumental Music, it is 4.4 Kerwa
compulsory to take the subject called 4.5 Dadra
'History and develop of Indian Music'. 4.6 Roopak
v) Student can choose any one practical 4.7 Dhumali
subject from Three Practical Subjects. 5. Presentation 5.1 Sargam
(Vocal Light Music-66, Vocal Classical (Any Two)
Music-67 and Instrumental Music-68). 5.2 Laxangeet
(Any Two) In
Implementation of the Music Practical prescribed Ragas.
Subjects 6. Presentation 6.1 Chhota Khyal
1. For Teaching a Music Practical Subjects (Any Two)
(Sub.No.66, 67, 68). The maximum 6.2 Alap - 2-2 Alap
number of students in one batch should be in sthai & antara.
Twenty only. 6.3 Taana - 2-2Taana
2. For Vocal Light & Vocal Classical Music in sthai & antara.
(66, 67) there should be separate batches 6.4 Khamaj
for boys and girls, based on the Natural 6.5 Kafi
Vocal Limitations. 6.6 Durga
3. There should be six periods in a week 6.7 Bihag
(one period – every day) for all music 6.8 Bhairavi
practical subjects per batch. 6.9 Alhiyya-Bilawal
7. Presentation 7.1 Vilambit Khyal
Curriculum (Any two)
Sr.No. Unit Sub unit 7.2 Chhota Khyal
1. Swara 1.1 Shuddha Swara. (only Bandish)

199

Yaman, Bhoopali, develop the creativity of the students in Art
Bhimpalas Education. The curriculum of music would
8. Specific forms 8.1 Tarana (one) definitely help in developing the hidden
Presentation. 8.2 Bhajan (one) or qualities of the students.
Environment Human life gets enriched due to Art
Song (one) that’s why Art has been given significance in
9. Definitions – 9.1 Tal Anga – Sam, the curriculum. While restructuring the
Technical terms. Kal, Matra, curriculum the students have been given the
Khand, Tali, opportunities as per their age and interest and
Awartan, Laya. due to that his ability to express & stage daring
9.2 Raga Anga – would increase surely. The student would take
Sangeet, Swara, pleasure after the study of each unit. They
Chala Swar, would do introspection. In this way they
Achala Swar, would become professionals like artists,
Komal Swara, teachers, accompanists etc.
Tivra Swara, It is also possible to make use of music
Thaat, Aroha, in co-curricular activities. Self-study has a
Awarha, Vadi, great importance in music and thus the
Samvadi, curriculum also aims to inculcate the value and
Anuvadi, importance of ‘RIYAZ’ in the students.
Vivadi, Varja, Objectives
Saptak, Jati, After completing the syllabus in ‘Indian
Gansamay, Music’, the students will come to know –
Pakad 1. History and Development of Indian Music
10. National 10.1 Jan-gan-man. 2. Vocal Light Music
Anthem 10.2 Vande mataram 3. Vocal Classical Music
11. Notation 11.1 One Sargam from 4. Instrumental Music
Writing Unit No.6 The student will be able to
11.2 One Sargam from 1. Define Technical Terms in Indian Music.
Unit No.7 2. Differentiate between the characteristics
12. Record Book of main school of Khyal
singing
Std. XII 3. Describe the life sketches of well known
Musicians, Instrumentalists &
Introduction Musicologists
Music plays a very significant role in 4. List the guidelines for appreciation of
National and State Board’s Art Education Music
Curriculum. Since there is a lot of scope to 5. Classify Musical Instruments of India into

200

various categories. iii) The theory paper called 'History and
6. Modern Musical Form Development of Indian Music' can be
7. The importance of Music in everyday and chosen independently.
social life. iv) But while choosing the Practical Papers
8. Place of Music in education i.e. Vocal Light Music OR Vocal Classical
9. The use of Modern Musical Aids in Music Music OR instrumental Music, it is
10. Recognize Musical Notes. compulsory to take the subject called
11. The sing/play different Ragas 'History and develop of Indian Music'.
12. Write and recite Theka bols of Talas with v) Student can choose any one practical
demonstration subject from Three Practical Subjects.
13. Write notation of Song and Talas (Vocal Light Music-66, Vocal Classical
14. sing/play different forms with Gayaki Anga Music-67 and Instrumental Music-68).
15. Live stage performance (Majlis) with
accompaniment – similarly Syllabus
1. To help for self-employment S.No. Unit Sub unit
2. For realisation of rich heritage of 1. Swara 1.1 Shuddha Swara.
music 1.2 Vikrit Swara.
3. To inculcate moral values like unity, 2. Alankar 2.1 Shuddha Swar’s
equality, brotherhood etc. Alankar
4. To co-relate for the teaching of other 3. Theory of 3.1 Kedar
subjects. Ragas 3.2 Jounpuri
5. Application of Music for 3.3 Bhairav
advertisements, industries etc. 3.4 Bageshree
'Indian Music' consists of the following Four 3.5 Shankara
Subject : 3.6 Tilak kamod
1) History and Development of Indian Music. 3.7 Deskar
(Theory) - 65 3.8 Malkauns
2) Vocal Light Music (Practical) - 66 3.9 Vrindawani
3) Vocal classical Music (Practical) - 67 Sarang
4) Instrumental Music (Practical) - 68 4. Theory & 4.1 All talas
Choice of Subject : demonstration prescribed for
i) Each of the four subjects mentioned above of Talas Std.XI
under. 'Indian Music' is considered for 4.2 Zumra
100 marks. 4.3 Tilwada
ii) 'History and Development of Indian 4.4 Choutal
Music' (Theory) shall be compulsory for 4.5 Dhamar
all students offering 'Indian Music' i.e. - 5. Presentation Chhota Khyal
Practical Subjects (Any two)

201

5.1 Shankara 8.2 Chatarang
5.2 Tilakkamod 9. Definition 9.1 All definitiions
5.3 Deskar Technical terms
5.4 Malkauns prescribed for
5-5 Vrindawani Std.XI
Sarang 9.2 Alap, Taan,
6. Presentation Vilambit Khyal Meend,
(Any two) Kanaswara,
6.1 Kedar Murki
6.2 Bhairav 10. Notation 10.1 Notation of
6.3 Jounpuri Writting Chhota Khyal
6.4 Bageshree from Unit 5
7. Presentation 7.1 Dhrupad (one) 10.2 Notation of
7.2 Dhamar (one) Chhotal Khyal
8. Presentation 8.1 Any two Sargam from Unit 6.
given in the 11. Record Book
syllabus

202

Instrumental Music (68)
Std. XI
3. Describe the life sketches of well known
Introduction Musicians, Instrumentalists &
Music plays a very significant role in Musicologists
National and State Board’s Art Education 4. List the guidelines for appreciation of
Curriculum. Since there is a lot of scope to Music
develop the creativity of the students in Art 5. Classify Musical Instruments of India into
Education, The curriculum of music would various categories.
definitely help in developing the hidden 6. Modern Musical Form
qualities of the students. 7. The importance of Music in everyday and
Human life gets enriched due to Art social life.
that’s why Art has been given significance in 8. Place of Music in education
the curriculum. While restructuring the 9. The use of Modern Musical Aids in Music
curriculum the students have been given the 10. Recognize Musical Notes.
opportunities as per their age and interest and 11. The Sing/play different Ragas
due to that his ability to express & stage daring 12. Write and recite Theka bols of Talas with
would increase surely. The student would take demonstration
pleasure after the study of each unit. They 13. Write notation of Song and Talas
would do introspection. In this way only they 14. sing/play different forms with Gayaki Anga
would become professionals like artists, 15. Live stage performance (Majlis) with
teachers, accompanists etc. accompaniment – similarly
It is also possible to make use of music 1. To help for self-employment
in co-curricular activities. Self-study has a 2. For realisation of rich heritage of
great importance in music and thus the music
curriculum also aims to inculcate the value and 3. To inculcate moral values like unity,
importance of ‘RIYAZ’ in the students. equality, brotherhood etc.
Objectives 4. To co-relate for the teaching of other
After completing the syllabus in ‘Indian Music’, subjects.
the students will come to know 5. Application of Music for
1. History and Development of Indian Music advertisements, industries etc.
2. Vocal Light Music 'Indian Music' consists of the following Four
3. Vocal Classical Music Subject :
4. Instrumental Music 1) History and Development of Indian Music.
The student will be able to (Theory) - 65
1. Define technical terms in Indian Music. 2) Vocal Light Music (Practical) - 66
2. Differentiate between the characteristics 3) Vocal classical Music (Practical) - 67
of main school of Khyal singing

203

4) Instrumental Music (Practical) - 68 3. Theory of 3.1 Khamaj
Choice of Subject : Ragas 3.2 Durga
i) Each of the four subjects mentioned above 3.3 Kafi
under 'Indian Music' is considered for 3.4 Bihag
100 marks. 3.5 Bhairavi
ii) 'History and Development of Indian 3.6 Alhiyya-Bilawal
Music' (Theory) shall be compulsory for 3.7 Yaman
all students offering 'Indian Music' i.e. - 3.8 Bhoopali
Practical Subjects 3.9 Bhimpalas
iii) The theory paper called 'History and 4. Theory & 4.1 Trital
Development of Indian Music' can be demonstration 4.2 Ektal
chosen independently. of Talas 4.3 Zaptal
iv) But while choosing the Practical Papers 4.4 Kerwa
i.e. Vocal Light Music OR Vocal Classical 4.5 Dadra
Music OR instrumental Music, it is 4.6 Rupak
compulsory to take the subject called 4.7 Dhumali
'History and development of Indian 5. Presentation 5.1 Rajakhani Gat
Music'. (Any Two)
v) Student can choose any one practical 5.2 Alap (Minimum
subject from Three Practical Subjects. Two alaps in
(Vocal Light Music-66, Vocal Classical Sthayee and
Music-67 and Instrumental Music-68). Antara each)
1. For Teaching a Music Practical Subjects 5.3 Taan (Minimum
(Sub.No.66, 67, 68). The maximum Two taanas in
number of students in one batch should be Sthayee and
Twenty only. Antara each) in
2. For Vocal Light & Vocal Classical Music the following
(66, 67) there should be separate batches Ragas
for boys and girls, based on the Natural 5.4 Khamaj
Vocal Limitations. 5.5 Kafi
3. There should be six periods in a week 5.6 Durga
(one period – every day) for all music 5.7 Bihag
practical subjects per batch. 5.8 Bhairavi
5.9 Alhiyya-Bilawal
Curriculum 6. Presentation 6.1 Masidkhani Gat
Sr.No. Unit Subunit (Any Two)
1. Swara 1.1 Shuddha Swara. 6.2 Rajakhani Gat
1.2 Vikrit Swara. (Any Two) in the
2. Alankar 2.1 Shuddha Swaras following Ragas

204

6.3 Yaman Std XII
6.4 Bhoopali
6.5 Bhimpalas Introduction
7. Specific 7.1 Gat with Dugan Music plays a very significant role in
Forms (one) National and State Board’s Art Education
Presentation 7.2 Dhun (one) Curriculum. Since there is a lot of scope to
8. Definitions : 8.1 Tal Angas – Sam, develop the creativity of the students in Art
[Technical Terms] Kal, Matra, Education. The curriculum of music would
Khand, Tali, definitely help in developing the hidden
Laya, Avartan qualities of the students.
8.2 Raga Anga – Human life gets enriched due to Art
Sangeet, Swara, that’s why Art has been given significance in
Komal Swara, the curriculum. While restructuring the
Tivra Swara, curriculum the students have been given the
Raga, Saptak, opportunities as per their age and interest and
Thaat, Aroha, due to that his ability to express & stage daring
Awaroha, Vadi, would increase surely. The student would take
Samvadi, pleasure after the study of each unit. They
Anuwadi Vivadi, would do introspection. In this way they
Varja Swara, would become professionals like artists,
Gansumay, teachers, accompanists etc.
Pakad It is also possible to make use of music
9. National 9.1 Jan-gan-man
in co-curricular activities. Self-study has a
Anthem 9.2 Vande-mataram
great importance in music and thus the
(official)
curriculum also aims to inculcate the value and
10. Notation 10.1 Sargam – Any
importance of ‘RIYAZ’ in the students.
Writing one in the
Objectives
prescribed
After completing the syllabus in ‘Indian
Ragas from
Music’, the students will come to know –
unit 5
1. History and Development of Indian Music
10.2 Sargam – Any
2. Vocal Light Music
one in the
prescribed 3. Vocal Classical Music
Ragas from 4. Instrumental Music
unit 6 The student will be able to
11. Practical Record Book 1. Define Technical Terms in Indian Music.
2. Differentiate between the characteristics
of main school of Khyal
singing

205

3. Describe the life sketches of well known under 'Indian Music' is considered for
Musicians, Instrumentalists & 100 marks.
Musicologists ii) 'History and Development of Indian
4. List the guidelines for appreciation of Music' (Theory) shall be compulsory
Music for all students offering 'Indian Music'
5. Classify Musical Instruments of India into i.e. - Practical Subjects
various categories. iii) The theory paper called 'History and
6. Modern Musical Form Development of Indian Music' can be
7. The importance of Music in everyday and chosen independently.
social life. iv) But while choosing the Practical Papers
8. Place of Music in education i.e. Vocal Light Music OR Vocal
9. The use of Modern Musical Aids in Music Classical Music OR instrumental Music,
10. Recognize Musical Notes. it is compulsory to take the subject
11. The sing/play different Ragas called 'History and development of
12. Write and recite Theka bols of Talas with Indian Music'.
demonstration v) Student can choose any one practical
13. Write notation of Song and Talas subject from Three Practical Subjects.
14. sing/play different forms with Gayaki Anga (Vocal Light Music-66, Vocal Classical
15. Live stage performance (Majlis) with Music-67 and Instrumental Music-68).
accompaniment – similarly
1. To help for self-employment Curriculum
2. For realisation of rich heritage of S.No. Unit Subunit
music 1. Swara 1.1 Shuddha Swara.
3. To inculcate moral values like unity, 1.2 Vikrit Swara.
equality, brotherhood etc. 2. Alankar Shuddha Swara’s
4. To co-relate for the teaching of other alankar based on tala
subjects. 3. Theory of 3.1 Kedar
5. Application of Music for Ragas 3.2 Bhairav
advertisements, industries etc. 3.3 Jounpuri
'Indian Music' consists of the following Four 3.4 Bageshree
Subject : 3.5 Shankara
3.6 Tilak-Kamod
1) History and Development of Indian Music.
3.7 Deshkar
(Theory) - 65
3.8 Malkauns
2) Vocal Light Music (Practical) - 66
3.9 Vrindavani
3) Vocal classical Music (Practical) - 67
Sarang
4) Instrumental Music (Practical) - 68
4. Theory & 4.1 All talas
Choice of Subject :
demonstration prescribed for
i) Each of the four subjects mentioned above
of Talas Std.XI

206

4.2 Zumra 6.4 Bageshree
4.3 Tilwada 7. Spefic Forms 7.1 Gat with Dugun
4.4 Addha Presentation & Chaugun
4.5 Roopak 7.2 Dhun
5. Presentation Rajakhani Gat 8. Definitions : 8.1 All terms
(Any two) with (Technical Terms) prescribed
2 alap & 2 taans for Std.XI
5.1 Shankara 8.2 Alap, Taan,
5.2 Tilak kamod Meend, Kan,
5.3 Deshkar Murki
5.4 Malkauns 9. Notation 9.1 Notation wirting
5.5 Vrindawani Writing at one Rajakhani
Sarang Gat from Unit 5
6. Presentation Masidkhani Gat 9.2 Notation writing
(Any Two) of one Rajakhani
6.1 Kedar Gat from Unit 6
6.2 Bhairav 10. (Practical)
6.3 Jounpuri Record - book

207

Percussion Instruments (69)
Std. XI
Introduction 2. Study about the biographical sketches of
In the subject music, the Percussion Percussion Masters along with their Riyaz
Instruments (Talvadya) has been given a very and style of playing etc.
significant role in National and State Boards 3. Explain the importance of ‘Laya’ in music
Art Education Curriculum. Since Art Education and learn it too as when we talk of Music,
has a lot of scope to develop to develop the Laya and Layakari naturally comes with
creativity of the students, the curriculum of it.
music would definitely help in developing the 4. Tell the definition and explanation of
hidden qualities of the students. different styles in Talvadya playing.
Human life gets enriched due to Art 5. Do the classification of different Percussion
that’s why the subject ‘Talvadya’ has been instruments.
given significance in the curriculum. 6. Get the basic knowledge or basic
While restructuring the curriculum, the introduction about how to give sequential
students have been given the opportunities, as solo performance.
per their age and interest. And due to that his 7. Information regarding writing notation in
ability to express and stage daring would music and the process of ‘PADHANT’
develop surely. The student would gain pleasure 8. Encourage students for accompaniment
after the study of each unit. They would do alongwith various vocal music styles.
introduction. In this way only they would For Teaching Percussion Instruments (Sub-
become professionals like artists, teachers, 69) The maximum number of students in
accompanists etc. one batch should be Twenty only.
It is also possible to make use of music
in the co-curricular activities. Self study has a Std. XI
great importance in music and thus the Theory
curriculum also aims to inculcate the value and Sr.No. Unit Sub - unit
importance of ‘RIYAZ’ in the students. 1. Rhythm (Laya) 1.1 Definition of
Instructional Objectives and Music Laya (Rhythm)
After completing the syllabus in ‘Indian 1.2 Importance of
Music’ the students would be able to get Laya in music
the information regarding Talvadya (Theory 2. Introduction of 2.1 Pakhawaj
& Practical) to. After Studying this subject Indian Rythmic 2.2 Dholki
the students will be able to- Instrument 2.3 Sambal
1. Study about different schools of Tabla 3. Introduction of 3.1 Kongo
(Gharanas), the study and analysis of their Western Rythmic3.2 Bongo
tradition and of the characteristics of Instruments
playing tabla.

208

4. Anatomy of Various parts of Practical
Tabla Tabla Dugga S.No. Unit Subunit
1. Tal Notation 1.1 Dadra
5. Alphabets, Script5.1 Various sounds Writing 1.2 Keharwa
and Language of produced on the (only single 1.3 Rupak
Tabla different parts of laya) 1.4 Trital
Tabla Dugga 1.5 Zaptal
5.2 Sound produced 1.6 Ektal
in multiple 1.7 Tevara
combinations of 1.8 Bhajani
Tabla Dugga. 2. Presentation 2.1 Various Bol
6. Matrices of 6.1 Definition playing on Tabla
Tala 6.2 Analysis of Talas and Dugga
6.3 Notation Writing 2.2 Playing talas
7. Definitions of 7.1 Kayda given in unit – 1
the following 7.2 Rela and oral
Terms with 7.3 Tihai presentation
illustrations 7.4 Mukhada 2.3 Kayda, Tihai,
8 Schools Tabla 8.1 Delhi Mukhada, Laggi
(Gharanas) short 8.2 Lakhnow 3. Tabla Solo 3.1 Trital
history and 8.3 Farukhabad 3.2 Zaptal
peculiarties 4. Various 4.1 Pakhawaj
Rhythmic 4.2 Dholki
Instrument Solo 4.3 Kongo
4.4 Bongo
4.5 Sambal

Std. XII

Introduction Human life gets enriched due to Art
In the subject music, the Percussion that’s why the subject ‘Talvadya’ has been
Instruments (Talvadya) has been given a very given significance in the curriculum.
significant role in National and State Boards While restructuring the curriculum, the
Art Education Curriculum. Since Art Education students have been given the opportunities, as
has a lot of scope to develop to develop the per their age and interest. And due to that his
creativity of the students, the curriculum of ability to express and stage daring would
music would definitely help in developing the develop surely. The student would gain pleasure
hidden qualities of the students. after the study of each unit. They would do
introduction. In this way only they would

209

become professionals like artists, teachers, Std. XII
accompanists etc. Theory
It is also possible to make use of music Sr.No. Unit Sub - unit
in the co-curricular activities. Self study has a 1. Schools Tabla 1.1 Ajarada
great importance in music and thus the (Gharanas) 1.2 Banaras
curriculum also aims to inculcate the value and 1.3 Punjab
importance of ‘RIYAZ’ in the students. 2. Biographical 2.1 Ustad Zakir
Instructional Objectives sketches and hussain
After completing the syllabus in ‘Indian contributions of 2.2 Pt. Anindo
Music’ the students would be able to get the following Chatterji
the information regarding Talvadya (Theory Percussionist 2.3 Pt. Bhawani-
& Practical) to. After Studying this subject Masters. shankar
the students will be able to- (Pakhawaj)
1. Study about different schools of Tabla 3. Laya and Typs 3.1 Vilambit Laya
(Gharanas), the study and analysis of their of Laya 3.2 Madhya Laya
tradition and of the characteristics of 3.3 Drut Laya
playing tabla. 4. Details study 4.1 Pakhawaj
2. Study about the biographical sketches of of Rhythmic 4.2 Dholki
Percussion Masters along with their Riyaz Instrument 4.3 Dholak
and style of playing etc. 4.4 Drumset
3. Explain the importance of ‘Laya’ in music 4.5 Rhythms
and learn it too as when we talk of Music, Macchine
Laya and Layakari naturally comes with 5. Study of the 5.1 Damdar Tihai
it. following Terms 5.2 Bedam Tihai
4. Tell the definition and explanation of with illustrations 5.3 Mohara
different styles in Talvadya playing. 5.4 Tukada
5. Do the classification of different Percussion 5.5 Paran
instruments. 5.6 Laggi
6. Get the basic knowledge or basic 6. Utility of 6.1 Classical music
introduction about how to give sequential various 6.2 Semi classical
solo performance. Rhythmic music
7. Information regarding writing notation in Instruments 6.3 Light music
music and the process of ‘PADHANT’ 6.4 Folk music
8. Encourage students for accompaniment 6.5 Western music
alongwith various vocal music styles. 7. Solo recital —
8. Information 8.1 Dadra
about Talas 8.2 Keharwa
and their 8.3 Rupak

210

Notation writing 8.4 Zaptal Laggi, Paran,
8.5 Trital etc. Forms of
8.6 Ektal presentation.
8.7 Tevara 2.2 11th Std. of all
8.8 Chowtal Talas information
and presentation.
Practical (XII) 2.3 11th Std. of all
Talas by showing
Sr.No.Unit Sub-Unit Tali and Khali on
1. Write Notation 1.1 Trital hand.
of following 1.2 Zaptal 3. Accompaniment —
Terms in the 4. Solo recital 4.1 Trital
given talas. with Lehara 4.2 Zaptal
One Kkayda accompaniment.
and one 5. Various 5.1 Pakhawaj
Chakradar Rhythmic 5.2 Dholki
2. Presentation 2.1 Kayda, Mohara, Instrument solo 5.3 Kongo
Tukada, 5.4 Drumset
Chakradar, 6. Practical Record
Book —