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
and a Visiting Practical Examiner appointed locally
Part 2 (Instrumental) and
and approved by CISCE.
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
Candidates will be required to appear for both the performance in the Practical
papers from one part only. Examination: accuracy of Shruti
and Laya, confidence, posture,
PAPER 1: THEORY (70 Marks)
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 (of work done by the candidate
Music or Part 3: Instrumental Music Percussion during the year).
(Tabla).
NOTE: Evaluation of Practical Work for Class XI
is to be done by the Internal Examiner.

297
 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
Kolahal/noise). 4. Taal and Taal-lipi
(ii) Shruti Notation of the following ‘Talas’: Teentaal,
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
(a) Meaning of Raga; Types (Janak, Janya- Paluskar.
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)
1. Demonstration of the following Ragas by singing
(viii) Alankar
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.

298
 PART 2: INSTRUMENTAL MUSIC

PAPER 1: THEORY (70 Marks) 3. Introduction to Ragas

1. Introduction to Musical Terms Yaman, Bhupali, Khamaj, Bhairav, Desh.
(i) Dhwani The above Ragas with special reference to their
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,
(iii) Swar Dadra, Kaharwa, Jhaptaal.
Meaning of Swar and types {Shudha, Vikrit The above Talas with their Thekas, Tali, Khali,
(Tivra, Komal) Vadi, Samvadi, Anuvadi, Vibhag in Thah, dugun and chaugun laya.
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
(v) Thaat clear indication of Swar and Taal signs and bols
of Gat.
Meaning, types, rules, number and name with
example in Bhatkhande system. 6. Eminent Musicians of Hindustani Music
(vi) Raga The following musicians to be studied: Vishnu
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
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 example (Sthayi,
Aarohi, Avarohi and Sanchari).
PAPER 2: PRACTICAL (30 Marks)
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.

299
 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
Dugun and Chaugun Layakari:
The following musicians to be studied: Vishnu
Narayan Bhatkhande, Vishnu Digambar (i) Teentaal
Paluskar. (ii) Ektaal
Life sketch, work and achievements of the above. (iii) Chaartaal
(iv) Rupak
2. Terms related to Tabla
(v) Tivra
Theka, Avartan, Kism, Tukda, Mukhda, Mohra,
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
four Paltas and Tihai in Teentaal.
Teentaal, Ektaal, Chaartaal, Rupak, Tivra.
Complete notation of the above Talas with their (ii) One Tihai in Teentaal.
Thekas, Tali, Khali, Vibhag in Thah, Dugun and (iii) One Paran in Chaartaal
Chaugun Laya and their characteristics.
(iv) One Tukda in Ektaal
4. Five Pranas of Taal
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.

300
 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.
(iv) Meend, Andolan, Gamak, Kan, Alaap, Taan. The above Talas with their Thekas, Tali, Khali,
Meaning, uses with examples wherever Vibhag in Thah, Dugun, Tigun and Chaugun
applicable. Laya.

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
study with reference to technique of usage, Swar, clear indication of Swar and Taal signs.
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
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 12. Topics of general interest related to Music
raga, Purvang- Uttarang of day and Saptak.
Essay type questions of about 200 words will be
6. Laya asked on the above.

Definition of Laya and its types: Vilambit, 13. Brief History and knowledge of Tanpura
Madhya and Drut.
Drawing and labelling with description and
tuning.

301
 PAPER 2: PRACTICAL (30 Marks) 2. Singing of one Vilambit Khayal in any of the
The practical work is to be assessed by the teacher Ragas in Point 1.
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
qualities (Volume, Pitch, and Timbre). Ten Thaats with name, swar, signs and basic
rules.
(ii) Raga
Type of Raga: Poorva, Uttar, Sandi 5. Vadi Swar and time of Raga
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.
Meaning, uses with examples, wherever (ii) Identification of Raga by written note-
combination
applicable.
(iii)Comparison and contrast between above
2. Systems of Indian Classical Music mentioned Raga.
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.

302
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
1. Demonstration of the following Ragas by playing
Raga: Bihag, Bageshwari, Kafi, Bhairavi,
Razakhani/Drut Gat with five Todas and Jhala:
Malkauns.
(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
Ragas in point 1.
Explanation of the above with examples.
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) 4. Compositions of Tabla

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

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

303
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 and a Visiting Examiner appointed
Meaning, Solo presentation (order of
locally and approved by CISCE.
performance); Playing technique while
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
(v) Jhoomra (vi) Kaharwa
The following musicians to be studied:
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) Four Kism in Kaharwa.
9. Topics of general interest related to Music (ii) Four Kism in Dadra.
Essay type question of about 200 words will be (iii) One Tukada, two Kism and one Kayada with
asked on the above. 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.
3. Accompaniment of Tabla (only Thekas) with
music played or sung.

(B) INDIAN MUSIC (CARNATIC) (873)

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

CLASSES XI & XII

There will be two papers: 4. Lakshanas of the following 24 ragas:

Paper 1: Theory: 3 hours ..... 70 marks 1. Todi 2. Saveri
Paper 2: Practical: ..... 30 marks 3. Chakravakam 4. Bhairavi

PAPER 1: THEORY (70 Marks) 5. Anandha Bhairavi 6. Karaharapriya

Candidates will be required to answer five questions 7. Shri Ranjani 8. Ritigoula

in all. 9. Mukhari 10. Harikambhoji
1. The fundamental technical terms and their 11. Natakuranji 12. Kedaragoula
meanings (Ref. South Indian Music, Book 1 by P.
13. Sahana 14. Kambhoji
Sambamoorthy, Chap. III, pp. 38-48).
15. Yadukulakambhoji 16. Sankarabharana
2. Principles of Sa, re, ga, ma, notations as laid
down in K.V. Srinivasa Iyengar's Music Books 17. Hamsadhwani 18. Begada
and in P. Sambamoorthy's "South Indian Music
19. Atana 20. Nata
Series", Significance of symbols commonly used.
21. Purvakalyani 22. Shanmukhapriya
3. Raga classification in Carnatic Music. The
scheme of the 72 Melakartas. The names of the 23. Kalyani 24. Saranga
12 chakras. Katapayadi Formula and its 5. Manodharma Sangita and its forms - Paddati in
application. developing rage alpana and Kapana Svaras.
304
6. Dasavida gamakas (Ten gamakas). 10. Classification of musical instruments into
stringed, wind and percussion group. A general
7. The scheme of the 35 Talas. Chapu tala and its
knowledge of the structure of the vina, violin
varieties. Desadi and Madyadi talas, Kriya, Anga.
tampuro, gottuvadyam and flute. Tuning of the
Laya, Gati, Matra (a detailed knowledge of two/ human voice and the compass of the concert
five pranas) shadhangas. instruments of South India.
8. Musical forms and their association. An 11. Musical sound and voice. Pitch. Intensity and
advanced knowledge of the following musical timbre. Sympathetic vibration. Resonance.
forms: Echoes, Musical intervals. Modal shift of tonic.
1. Gita 2. Tana Verma (Grahabhedam).
3. Padavarna 4. Kriti
PAPER 2: PRACTICAL (about 20 minutes)
5. Ragamalika 6. Padam – 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 2. Saveri Sankari Sankuru
must be known.
3. Chakravakam Etula Brotuvo
1. Jayadeva
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

12. Sankarabharana Saroja dala netri
9. Paidala Guruthy Sastri
13. Hamsadhwani Vatapi ganapatim
10. Tyagaraja
14. Begada Nadopasana
11. Muthuswami Dikshitar
15. Atana Ilalo pranatharthi hara
12. Syama Sastri
16. Purvi Kalyani Ninnu Vina gamari
13. Arunachalam Kavirayar 17. Shanmukhapriya Mariveredikkevaraiya rama
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
17. Veena Kuppayyar playing these pieces or other classical pieces of an
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.

305
2. Alapana of the following ragas Vina, Gottuvadyam, Violin, Balakokil, Flute or
1. Todi 2. Saveri Nagasvaram. A vocal candidate shall sing to the
sruti accompaniment of Tambura. A vocal
3. Bhairavi 4. Anandha Bhairavi candidate may sing playing the Tambura
5. Mohana 6. Kedaragoula himself/herself or he/she may utilise the services
of another person to provide the Tambura
7. Kambhoji 8. Yadukula Kambhoji accompaniment for him/her, provided this other
person is not a candidate for this same
9. Sankarabharana 10. Begada
examination.
11. Kalyani
3. Ability EVALUATION:
(i) to sing Kalpada swara for the songs learnt in The practical work is to be evaluated by the teacher
Todi, Bhairavi, Kambhoji, Sankarabharana and a Visiting Practical Examiner appointed locally
and Kalyani ragas and in Adi and Rupaka and approved by CISCE.
talas; (Note: For Class XI, Evaluation of Practical is to be
(ii) to sing or play a given musical passage in sa, done by the Internal Examiner.)
re, ga, ma notation in any of the prescribed
Marks will be distributed as follows:
24 ragas.
• Practical Examination: 20 Marks
(iii) to give swaras for musical phrases sung or
played; • Evaluation by Visiting Practical 5 Marks
(iv) to recognise ragas from alpanas heard or Examiner:
played; and (of candidate’s overall performance
(v) to recognise the talas of unfamiliar songs in the Practical Examination, based
heard or played. on sruthy, laya, tonal quality,
expression and music performance)
4. In addition to the individual tests there will also
be common ear tests, sight-singing tests and • Evaluation by the Teacher: 5 Marks
musical dictation at the practical examination. (of work done by the candidate
In the practical examination, candidates may throughout the year.)
offer vocal music or one of the following:

306
 (C) WESTERN MUSIC (874)
(May not be taken with Hindustani Music or Carnatic Music)
CLASSES XI & XII

Pre-Requisite: 1. Candidates will be required to write on a

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

307
key. Three examples will be given, each starting EVALUATION:
from the same tonic key, and containing one The practical work is to be evaluated by the teacher
modulation only. Modulations will be limited to and a Visiting Practical Examiner appointed locally
the dominant, sub-dominant, and relative major and approved by CISCE.
or minor keys. After the key has been named and (Note: For Class XI, Evaluation of Practical is to be
the tonic chord has been sounded, each of the done by the Internal Examiner.)
three examples will be played through twice.
Marks will be distributed as follows:
The test will not necessarily contain examples of • Practical Examination: 20 Marks
modulations of three different keys; the same
keys recur. • Evaluation by Visiting Practical 5 Marks
Examiner:
A candidate will be at liberty to write down his (of candidate’s Aural skills,
answers to a particular test at any stage. presentation of written work and
overall confidence of the
candidate in the Practical
Examination)
• Evaluation by the Teacher: 5 Marks
(of work done by the candidate
during the year)

308