MUSIC

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 performance in the
Candidates will be required to appear for both the Practical Examination: accuracy of Shruti and
papers from one part only. Laya, confidence, posture, tonal quality and
expression)
PAPER 1: THEORY (70 Marks)
• Evaluation by the Teacher: 5 Marks
In the Theory paper candidates will be required to
(of work done by the candidate during the year).
attempt five questions in all, two questions from
Section A (General) and EITHER three questions
from Section B (Vocal or Instrumental) OR three
questions from Section C (Tabla).

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 PART I: VOCAL MUSIC

PAPER 1: THEORY (70 Marks) 7. Raga

(i) Bihag, Bageshwari, Kafi, Bhairavi.
1. Musical Terms and Forms
(ii) Identification of Raga by written note-
(i) Naad combination.
Meaning, origin and qualities (Volume, (iii) Comparison and contrast between above
Pitch, and Timbre). mentioned Raga.
(ii) Raga Complete theory of the above mentioned
Ragas with special reference to their Swar,
Type of Raga: Poorva, Uttar, Sandi-Prakash Thaat, Jaati, Aaroh, Avaroh, Pakad, Vadi,
(Meaning with examples). Samvadi, Anuvadi, Vivadi, Varjya, Vikrit,
(iii) Meend, Andolan, Gamak, Kan, Alaap, Taan. Samprakriti Raga and singing/playing time.
Meaning, uses with examples wherever 8. Notation of Taal
applicable.
Ektaal, Roopak, Chartaal.
2. Systems of Indian Classical Music The above Talas with their Thekas, Tali, Khali,
Vibhag in Thah, Dugun, Tigun and Chaugun
The two systems of Indian Classical Music. Laya.
Hindustani and Carnatic Music – comparative
study with reference to technique of usage, Swar, 9. Notation of Bandish (Chhota Khayal)
Taal, composition, instruments used and Sthai and antara with the mention of the name of
language. the raga (with its aaroh, avaroh) and taal with
clear indication of Swar and Taal signs.
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.
Explanation with examples.
4. “Thaats” of Bhatkhande
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.
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. Identification of all the Ragas by listening to their
The practical work is to be assessed by the teacher Alaap.
and a Visiting Examiner appointed locally and 3. Singing of Ten Alankars in Shudh Swar.
approved by the Council.
4. Recitation of the following Talas in Dugun and
1. Demonstration of the following Raga by singing Chaugun Laya:
"Chota Khayal" with Alap, and five Taans:
(i) Chaartaal (ii) Ektaal (iii) Roopak
(i) Bihag (ii) Bageshwari (iii) Kafi (iv) Bhairvi.

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 and qualities (Volume,
Pitch, and Timbre). Ten Thaats with name, swar, signs and basic
rules.
(ii) Raga
Type of Raga: Poorva, Uttar, Sandi Prakash 5. Vadi Swar and time of Raga
(Meaning with examples). Relationship between Vadi Swar and time of
raga; Purvang-Uttarang of day and Saptak.
(iii) Forms of composition: Razakhani/Dhrut Gat
Origin, development and characteristics to 6. Laya
be done in detail. Definition of Laya and its types: Vilambit,
(iv)Meend, Ghaseet, Soot, Andolan, Gamak, Madhya and Drut.
Kan, Alaap, and Jod-Alap. 7. Raga
Meaning, uses with examples, wherever
(i) Bihag, Bageshwari, Kafi, Bhairavi
applicable.
(ii) Identification of Raga by written note-
2. Systems of Indian Classical Music combination
The Two systems of Indian Classical Music. (iii)Comparison and contrast between above
mentioned Raga.
Hindustani and Carnatic Music – comparative
study with reference to technique of usage, Swar, Complete theory of the above mentioned Ragas
with special reference to their Swar, Thaat, Jaati,
Taal, composition, instruments used and
Aaroh, Avaroh, Pakad, Vadi, Samvadi, Anuvadi,
language.
Vivadi, Varjya, Vikrit, Samprakriti Raga and
singing/playing time.

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

PART 3: INSTRUMENTAL MUSIC-PERCUSSION (TABLA)

PAPER 1: THEORY (70 Marks) 4. Compositions of Tabla

1. History and knowledge of Tabla Tihai (Damdar/Bedam), Gat, Kayada, Palta, Rela,
Brief history of origin and evolution of tabla, Laggi, Ladi, Chakkardar Tukda, Paran.
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, Kaharwa

Complete notation of the above in Thah, Dugun,
Tat -Vitat, Sushir, Avanadh, Ghan
Tigun, and Chaugun Laya with characteristics.
Definition and explanation with examples.

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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
Meaning, Solo presentation (order of and a Visiting Examiner appointed locally and
performance); Playing technique while approved by the Council.
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
The following musicians to be studied: (v) Kaharwa
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) Two Kism in Kaharwa.
9. Topics of general interest related to Music
(ii) Two Kism in Dadra.
Essay type question of about 200 words will be (iii) One Tukada, two Kism and one Kayada with
asked. 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.

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

Note: The Syllabus for this subject has not been changed.
CLASS XII

There will be two papers: 5. Manodharma Sangita and its forms - Paddati in
developing rage alpana and Kapana Svaras.
Paper 1: Theory: 3 hours ..... 70 marks
Paper 2: Practical: ..... 30 marks 6. Dasavida gamakas (Ten gamakas).
7. The scheme of the 35 Talas. Chapu tala and its
PAPER 1: THEORY (70 Marks) varieties. Desadi and Madyadi talas, Kriya, Anga.
Laya, Gati, Matra (a detailed knowledge of two/
Candidates will be required to answer five questions five pranas) shadhangas.
in all.
8. Musical forms and their association. An advanced
1. The fundamental technical terms and their knowledge of the following musical forms:
meanings (Ref. South Indian Music, Book 1 by P.
Sambamoorthy, Chap. III, pp. 38-48). 1. Gita 2. Tana Verma

2. Principles of Sa, re, ga, ma, notations as laid down 3. Padavarna 4. Kriti
in K.V. Srinivasa Iyengar's Music Books and in P. 5. Ragamalika 6. Padam
Sambamoorthy's "South Indian Music Series",
Significance of symbols commonly used. 7. Javali 8. Tillana

3. Raga classification in Carnatic Music. The 9. History of Carnatic Music with special reference
scheme of the 72 Melakartas. The names of the 12 to the following composers and theorists including
chakras. Katapayadi Formula and its application. their biographies and their contributions to
Carnatic Music. 10 out of 20 must be known.
4. Lakshanas of the following 24 ragas:
1. Jayadeva
1. Todi 2. Saveri
2. Purandaradas
3. Chakravakam 4. Bhairavi
3. Ramamatya
5. Anandha Bhairavi 6. Karaharapriya
4. Somanatha
7. Shri Ranjani 8. Ritigoula
5. Narayana Tirtha
9. Mukhari 10. Harikambhoji
6. Bhadrachala Ramadas
11. Natakuranji 12. Kedaragoula
7. Venkatamakhi
13. Sahana 14. Kambhoji
8. Kshetrajna
15. Yadukulakambhoji 16. Sankarabharana
9. Paidala Guruthy Sastri
17. Hamsadhwani 18. Begada
10. Tyagaraja
19. Atana 20. Nata
11. Muthuswami Dikshitar
21. Purvakalyani 22. Shanmukhapriya
12. Syama Sastri
23. Kalyani 24. Saranga
13. Arunachalam Kavirayar

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 14. Gopalakrishna Gharat 18. Kalyani Ninnu Vina gati
15. Svati Tirunal 19. Saranga Neevada negana
16. Subbaraya Shastri Note: Candidates shall have the option of singing or
playing these pieces or other classical pieces of an
17. Veena Kuppayyar
equal standard.
18. Mysore Sadasiva Rao
Candidates shall be expected to know in outline the
19. Patnam Subramanya Iyar meaning of at least six songs of the classical
20. Pallavi Seshayyar composers learnt by them.

10. Classification of musical instruments into 2. Alapana of the following ragas

stringed, wind and percussion group. A general 1. Todi 2. Saveri
knowledge of the structure of the vina, violin
tampuro, gottuvadyam and flute. Tuning of the 3. Bhairavi 4. Anandha Bhairavi
human voice and the compass of the concert 5. Mohana 6. Kedaragoula
instruments of South India.
7. Kambhoji 8. Yadukula Kambhoji
11. Musical sound and voice. Pitch. Intensity and
timbre. Sympathetic vibration. Resonance. 9. Sankarabharana 10. Begada
Echoes, Musical intervals. Modal shift of tonic.
(Grahabhedam). 11. Kalyani
3. Ability
PAPER 2: PRACTICAL (about 20 minutes) (i) to sing Kalpada swara for the songs learnt in
– 30 Marks Todi, Bhairavi, Kambhoji, Sankarabharana
Two padas of Kshetrajna. One Ragamalika. Two and Kalyani ragas and in Adi and Rupaka
Tillanas. Two Javalis and the following talas;
compositions: (ii) to sing or play a given musical passage in sa,
1. Todi Kaddanna Variki re, ga, ma notation in any of the prescribed 24
ragas.
2. Saveri Sankari Sankuru
(iii) to give swaras for musical phrases sung or
3. Chakravakam Etula Brotuvo
played;
4. Bhairavi Neepadamule
(iv) to recognise ragas from alpanas heard or
5. Anandha Bhairavi Nimadi Challaga played; and
6. Karaharapriya Pakkala Nilabadi (v) to recognise the talas of unfamiliar songs
7. Sri Ranjani Marubalka heard or played.
8. Harikambhoji Entharanidaya 4. In addition to the individual tests there will also
be common ear tests, sight-singing tests and
9. Natakuranji Manasuvishaya nata musical dictation at the practical examination.
10. Shana Rama Ikananu In the practical examination, candidates may offer
11. Kambhoji Koniyadina napai vocal music or one of the following:
12. Sankarabharana Saroja dala netri Vina, Gottuvadyam, Violin, Balakokil, Flute or
13. Hamsadhwani Vatapi ganapatim Nagasvaram. A vocal candidate shall sing to the
sruti accompaniment of Tambura. A vocal
14. Begada Nadopasana candidate may sing playing the Tambura
15. Atana Ilalo pranatharthi hara himself/herself or he/she may utilise the services
16. Purvi Kalyani Ninnu Vina gamari of another person to provide the Tambura
accompaniment for him/her, provided this other
17. Shanmukhapriya Mariveredikkevaraiya rama
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 person is not a candidate for this same Marks will be distributed as follows:
examination. 20 Marks
• Practical Examination:
• Evaluation by Visiting Practical 5 Marks
EVALUATION:
Examiner:
The practical work is to be evaluated by the teacher (of candidate’s overall performance in the Practical
and a Visiting Practical Examiner appointed locally Examination, based on sruthy, laya, tonal quality,
and approved by the Council. expression and music performance)
• Evaluation by the Teacher: 5 Marks
(of work done by the candidate throughout the
year.)

(C) WESTERN MUSIC (874)

(May not be taken with Hindustani Music or Carnatic Music)

Note: The Syllabus for this subject has not been changed.
CLASS XII

Pre-Requisite: harmonization of a melody in four vocal parts or in

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