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ISC Music Syllabus
ISC Music Syllabus
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).
The Syllabus is divided into three parts: Candidates will be required to appear for both the
papers from one part only.
Part 1 (Vocal), Part 2 (Instrumental) and
Part 3 (Tabla). Candidates will be required to offer In the Theory paper candidates will be required to
one of the parts of the syllabus. attempt five questions in all; two questions from
Section A (General) and EITHER three questions
There will be two papers: Paper 1 (Theory) of
from Section B (Vocal or Instrumental) OR three
100 marks and Paper 2 (Practical) of 100 marks.
questions from Section C (Tabla).
CLASS XI
PART 1: Vocal Music specific emphasis on their Chalan, Ansh and
Nayas Swaras:
PAPER 1 (Theory)
(i) Rag Yaman (ii) Rag Bhoopali
A. 1. Musical Sound - Nad, Shruti, Swar, Saptak
(Mandra, Madhya, Tar) That, Rag, Jati. (iii) Rag Bilawal (iv)Rag Bhairva
2. Swars - Tivra, Komal, Shudha, Prakrat, Vikrit 2. General knowledge of the following
Vadi, Samvadi, Anuvadi, Vivadi, Varjya additional Ragas:
Vakra, Grah, Ansh, Nayas Swaras. (i) Rag Brindabani Sarang
3. Types of Ragas - Odava, Shadava,
(ii) Rag Desh
Sampoorna, Ashraya, Janak, Janya.
4. Varna - Sthayi, Arohi, Avrohi and Sanchari. C. Notation of the following "Tals" with their Thekas
Tali, Khali, Vivahag in dugun and chaugun laya.
5. Alankar - Palte, Aroha, Avroha.
(i) Teen Tal (ii) Dadra (iii) Roopak (iv) Ektal.
6. Tal - Matra, Sam, Tali, Khali, Bhag, Vibhag,
Theka, Avartan, Dugun, Chaugun. D. Notation of note combinations, Songs with Alap
7. Form of Composition - Khyal (Vilambit, Drut and Tans. (Any Indian System of notation can be
Khyal), Lakshan Geet, Sargam and their adopted).
division into Sthayee Antara, Sanchari, and E. Contribution of the following Musicians:
Abhog.
(i) Tansen (ii) Amir Khusroo (iii) Vishnu Narayan
B. 1. Complete theory of the following Ragas with Bhatkhande (iv) Vishnu Digambar Puluskar
special reference to their notes, Aroh, Avroh, (v) Kesar Bai Kelkar (vi) Khalifa Nathu Khan
Pakar, Vadi, Samvadi, Vivadi time etc. and (vii) Biroo Mishra.
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F. Essay of general or topical interest on musical and 4. Varna: Sthayee, Arohi, Avrohi and Sanchari.
allied subjects.
5. Alankaras: Palte, Aroha, Avroha.
PAPER 2 (Practical) 6. Tal, Matra, Sam, Tali, Khali, Bhag, Vinhag,
Theka, Avartan, Dugun, Chaugun.
1. Demonstration of the following Ragas by
B. 1. Complete theory of the following Ragas with
singing Khyal with complete improvisation
special reference to their notes: Aroh, Avroh,
with five Tans:
Pakad, Vadi, Samvadi, Vivadi time etc. and
(i) Rag Yaman (ii) Rag Bhoopali (iii) Rag specific emphasis on their chalan, Ansh and
Bilawal (iv) Rag Bhairva. Nayas Swaras.
2. Swar Vistar in the following additional Ragas: (i) Rag Yaman
(i) Rag Brindavani Sarang. (ii) Rag Bhoopali
(ii) Rag Desh. (iii) Rag Bhairva
3. One "Bilambit Khyal" in any one Raga in (iv) Rag Bilawal
paragraph 1.
2. General Knowledge of the following
4. Identification and production of all the twelve additional Ragas:
notes individually or jointly in small note
(i) Brindabani Sarang
combinations with definite Matras of each.
(ii) Rag Desh
5. Recitation of the following Tals with Dugun
of Chaugun Laya showing various divisions C. Notation of the following Talas with their thekas,
by Tali, Khali and Bhari, by hand beats: Tali, Khali, Vibhag in Dugun and Chaugun Laya:
(i) Teen Tal (i) Teen Tal (ii) Dadra (iii) Rupak (iv) Ektal.
(ii) Dadra Tal D. Notation of note combination with Gat and Alap
Tora and Jhala.
(iii) Rupak Tal
E. Contribution of the following Musicians:
(iv) Ektal
(i) Tansen (ii) Amir Khusroo (iii) Vishnu Narayan
6. Practice of rendering dugun and Chaugun Bhatkhande (iv) Vishnu Digambur Puluskar (v)
Laya by Swara numericals or syllables. Kesar Bai Kelkar (vi) Khalifa Nathu Khan
7. Practice of singing Arohi, Avrohi of ten (vii) Biroo Mishra.
principal scales (Thats) F. Essay of general topical interest on Music and
allied subjects.
PART 2: Instrumental Music G. Manner of holding the instrument while playing
PAPER 1 (Theory) it.
H. Explanation/Definition of the following Bols:
A. 1. Musical Sound: Nad, Shruti, Swar, Septak
(Mandra, Madhya- Tar) That, Rag, Jati. (i) Akarsh (ii) Apkarsh Bols.
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PAPER 2 (Practical) C. Explanation of the following:
(i) Theka (ii) Avartan (iii) Kisam (iv) Tukda
A. Demonstration of following Ragas by playing Gat
(v) Mukhada (vi) Mohra (vii) Uthan (viii) Paran
with improvisation: Five Toras.
(ix) Peshkara
(i) Rag Yaman
D. Complete Tal notation of the following Tals with
(ii) Rag Bhoopali Dugun and Chaugun Layakaris:
(iii) Rag Bhairva (i) Teen Tal (ii) Ektal (iii) Chartal (iv) Rupak
(iv) Rag Bilawal (v) Tivra
B. Swar Vistar or Jod Alap in the following E. Five Pranas of Tal and explanation thereof:
additional Ragas:
(i) Kal (ii) Marg (iii) Kriya
(i) Rag Brindabani Sarang (iv) Ang (v) Kala (vi) Laya
(ii) Rag Desh F. Manner of holding the instrument while playing.
G. Brief history and origin of Instrument.
C. One Masseet Khani Gat in any one Raga in
paragraph 1. H. Classification of Indian Instruments:
Tat, Vitat, Sushir, Ghan, Avnadha
D. Identification and production of all the twelve
notes individually or jointly in small note I. Description of the various parts of the Instrument.
combination with definite Matras of each. J. Technique of producing syllables on Tabla
(Dayan and Bayan Both Sides) individually and
E. Playing Ten Alankars. jointly.
PAPER 1 (Theory) (i) One Peshkara or Uthan for Kayadas and their
Paltas in Teen Tal.
A. Contribution of the following Musicians:
(ii) Four Kismes in Teen Tal.
(i) Tansen (ii) Amir Khusroo (iii) Vishnu Narayan (iii) One Paran in Chartal or Ektal.
Bhatkhande (iv) Vishnu Digambar Puluskar
(iv) One Tiha in Rupak or Tivra.
(v) Biroo Mishra (vi) Kesar Bai Kelkar (vii)
3. Identification and production of syllables on
Khalifa Nathu Khan
Tabla.
B. Essay of general or topical interest on musical and 4. Accompaniment of Tabla (only Thekas) with
allied subjects. music played or sung.
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CLASS XII
(ii) Division of twenty two shruties among 1. Demonstration of the following Ragas by singing
seven notes. "Khyal" with Alap, Bol alap, Sargam and Tans:
(iii) Formation of "That" out of Saptak. (i) Rag Asawari (ii) Rag Khamaj (iii) Rag Kafi
(iv) Rag Bhairvi.
(iv) Classification of Ragas among "Thats".
2. Swar Vistar in the following additional Ragas:
(v) Relationship between Vadi Swar and time
(i) Rag Bageshwari (ii) Rag Malkauns.
of Raga.
3. One "Dhrupad" in any of the Ragas in
(vi) Time Table of Raga.
Paragraph 1.
5. Laya: Drut, Vilambit and Madhya Laya.
4. Identification and production of all the twelve
B. Complete theory of the following Ragas with: notes individually or jointly in small combinations
with definite Matras of each.
1. Special reference to their notes, Aroh, Avroh,
Pakar Vadi, Samvadi, time etc. 5. Use of grace notes, Khatka, Murki, Sparsh.
(i) Rag Asawari (ii) Rag Khamaj (iii) Rag 6. Identification of all the Ragas by listening to their
Kafi (iv) Rag Bhairvi. main Alaps.
2. General Knowledge of the following Ragas: 7. Singing of Ten Alankars.
(i) Rag Bageshwari, (ii) Rag Malkauns 8. Recitation of the following Talas in Dugun and
Chaugun Laya:
3. Notation of the following Talas in Dugun and
Chaugun Laya: (i) Chartal (ii) Jhaptal (iii) Tivra (iv) Kaharva.
(i) Chartal (ii) Tivra Tal (iii) Zhaptal 9. Practice of singing self-made Alaps by quick
(iv) Kahrva. changeover from one Raga to another in a
sequence of at least two Ragas.
4. Notation of note combinations, "Khyal"
with Alap & Tan (Any Indian system of 10. Practice of rendering Dugun, Chaugun by Swaras,
notation can be adopted). numericals or syllables.
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11. Practice of singing Arohi and Avrohi of ten E. Identification of Ragas by written notes
principal scales "Thats". combination.
F. Comparison and contrast between Ragas.
PART 2: Instrumental Music
G. Brief history of Indian Music.
PAPER 1 (Theory)
H. Contribution of the following Musicians:
A. Explanation and Definition of the following:
(i) Adarang (ii) Fiyaz Khan (iii) Bade Ghulam Ali
1. Production, transmission and reception of Khan (iv) Dagar Brothers (v) Inayat Khan
Sound, Volume, Pitch and Timbre. (vi) Allauddin Khan.
Relation between frequency and length of I. Essay of general or topical interest on music and
wire vis-a-vis wire tension. allied subjects.
2. Types of Ragas: Poorva, Uttar, Sandhi- J. Explanation/Definition of the following:
Prakash, Shuddha, Chhayalag, Sankirna.
Chal Achal That, Zamzama, Murki, Khatka,
3. Meend, Andolan, Gamak, Kan. Krintan, Kampan.
4. Sangeet: K. Brief history and origin of musical instruments.
(i) Two main systems.
PAPER 2 (Practical)
(ii) Division of twenty-two shruties among
seven notes.
The practical work is to be assessed by the teacher and
(iii) Placement of Swaras on specific shruties. a Visiting Examiner appointed locally and approved
by the Council.
(iv) Formation of "That" out of Saptak.
1. Demonstration of the following Ragas by playing
(v) Classification of Ragas among "Thats".
Gat with complete improvisation: Ten Toras with
(vi) Relationship between vadi and time of five types of Jhala:
Ragas.
(i) Rag Asawari; (ii) Rag Khamaj; (iii) Rag
(vii) Time of Ragas. Bhairvi; (iv) Rag Kafi.
5. Laya: Drut, Madhya, Vilambit, Athgun Laya. 2. Swar Vistar or Jod Alap in the following
B. 1. Complete theory of the following Ragas with additional Ragas:
special reference to their notes, Aroh, Avroh, (i) Rag Bageshwari (ii) Rag Malkauns.
Pakar, Vadi, Samvadi time etc. and special
emphasis on their Ansh, Challan and Nayas 3. One Massit khani Gat in any of the Ragas in
Swaras: paragraph I.
(i) Rag Asawari (ii) Rag Khamaj (iii) Rag 4. Identification and production of all the twelve
Bhairavi (iv) Rag Kafi. notes individually or jointly in small combinations
with definite Matras of each.
2. General knowledge of the following Ragas:
(i) Rag Bageshwari (ii) Rag Malkauns. 5. Use of grace notes, Khatka, Murki, Sparsh.
C. Notation of the following Tals in Dugun and 6. Identification of all the Ragas prescribed for Class
Chaugun Laya: XII by listening to their Alap.
(i) Chartal (ii) Tivra (iii) Zhaptal (iv) Kaharva. 7. Playing of ten Alankars.
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9. Practice of playing self made Alap by quick (iv) Kayada (v) Palta (vi) Rela (vii) Laggi
change over from one Raga to another in a (viii) Lari
sequence of at least two Ragas.
F. Complete Tal notation of the following Tals:
10. Practice of rendering Dugun, Chaugun, Tigun,
(i) Jhaptal (ii) Dadra (iii) Tilwara (iv) Dhamar
Athgun speeds by Swaras numericals or syllables.
(vi) Jhoomra
11. Practice of playing Arohis and Avrohis of ten
G. Tal rotation of Kayada, Palta, etc., with clear
principal scales - "That".
indication of Sam, Tali, Khali, Vibhag, etc.
PART 3: Instrumental Music-Percussion (Tabla)
PAPER 2 (Practical)
PAPER 1 (Theory)
The practical work is to be assessed by the teacher and
a Visiting Examiner appointed locally and approved
A. Contribution of the following Musicians:
by the Council.
(i) Adarang (ii) Fiyaz Khan
A. Playing of the following Tals on Tabla in That,
(iii) Bade Ghulam Ali Khan (iv) Dagar Brothers Dugun and Chaugun Layakaries:
(vi) Allauddin Khan (i) Jhaptal (ii) Dadra (iii) Tilwara
B. Essay of general or topical interest on music and (iv) Dhamar (v) Jhoomra
allied subjects.
B. Keeping the wazan of the tal intact demonstration
C. Brief history of Indian music. of the following:
D. Five Pranas of Tal and explanation thereof: (i) Four Kisme in Kaharwa.
(i) Grah (Sam, Visham, Atit, Anaghat) (ii) Four Kisme in Dadra.
(ii) Jati (Chatasra, Tisra, Misra, Khand, Sankirna) (iii) Two Tukadas and two Kisme in Jhaptal.
(iii) Yati (iv) One Gat, One Laggi, One Leri and one
(iv) Prastar Chakkardar Tukda in Teen Tal.
There will be two papers: Paper 1 (Theory) of 100 2. Principles of Sa, re, ga, ma, notations as laid down
marks, Paper 2 (Practical) of 100 marks. in K.V. Srinivasa Iyengar's Music Books and in P.
PAPER 1: Theory (three hours) Sambamoorthy's "South Indian Music Series",
Significance of symbols commonly used.
Candidates will be required to answer five questions.
1. The fundamental technical terms and their 3. Raga classification in Carnatic Music. The
meanings (Ref. South Indian Music, Book 1 by P. scheme of the 72 Melakartas. The names of the 12
Sambamoorthy, Chap. III, pp. 38-48). chakras. Katapayadi Formula and its application.
213
4. Lakshanas of the following 24 ragas: 8. Kshetrajna
1. Todi 2. Saveri 9. Paidala Guruthy Sastri
3. Chakravakam 4. Bhairavi 10. Tyagaraja
5. Anandha Bhairavi 6. Karaharapriya 11. Muthuswami Dikshitar
7. Shri Ranjani 8. Ritigoula 12. Syama Sastri
9. Mukhari 10. Harikambhoji 13. Arunachalam Kavirayar
11. Natakuranji 12. Kedaragoula 14. Gopalakrishna Gharat
13. Sahana 14. Kambhoji 15. Svati Tirunal
15. Yadukulakambhoji 16. Sankarabharana 16. Subbaraya Shastri
17. Hamsadhwani 18. Begada 17. Veena Kuppayyar
19. Atana 20. Nata 18. Mysore Sadasiva Rao
21. Purvakalyani 22. Shanmukhapriya 19. Patnam Subramanya Iyar
23. Kalyani 24. Saranga 20. Pallavi Seshayyar
5. Manodharma Sangita and its forms - Paddati in 10. Classification of musical instruments into
developing rage alpana and Kapana Svaras. stringed, wind and percussion group. A general
knowledge of the structure of the vina, violin
6. Dasavida gamakas (Ten gamakas).
tampuro, gottuvadyam and flute. Tuning of the
7. The scheme of the 35 Talas. Chapu tala and its human voice and the compass of the concert
varieties. Desadi and Madyadi talas, Kriya, Anga. instruments of South India.
Laya, Gati, Matra (a detailed knowledge of two/
11. Musical sound and voice. Pitch. Intensity and
five pranas) shadhangas.
timbre. Sympathetic vibration. Resonance.
8. Musical forms and their association. An advanced Echoes, Musical intervals. Modal shift of tonic.
knowledge of the following musical forms: (Grahabhedam).
1. Gita 2. Tana Verma
PAPER 2: (Practical - about 20 minutes)
3. Padavarna 4. Kriti
5. Ragamalika 6. Padam The practical work ( in Class XII), is to be assessed by
the teacher and a Visiting Examiner appointed locally
7. Javali 8. Tillana
and approved by the Council.
9. History of Carnatic Music with special reference
Two padas of Kshetrajna. One Ragamalika. Two
to the following composers and theorists including
Tillanas. Two Javalis and the following
their biographies and their contributions to
compositions:
Carnatic Music. 10 out of 20 must be known.
1. Todi Kaddanna Variki
1. Jayadeva
2. Saveri Sankari Sankuru
2. Purandaradas
3. Chakravakam Etula Brotuvo
3. Ramamatya
4. Bhairavi Neepadamule
4. Somanatha
5. Anandha Bhairavi Nimadi Challaga
5. Narayana Tirtha
6. Karaharapriya Pakkala Nilabadi
6. Bhadrachala Ramadas
7. Sri Ranjani Marubalka
7. Venkatamakhi
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8. Harikambhoji Entharanidaya 3. Ability
9. Natakuranji Manasuvishaya nata (i) to sing Kalpada swara for the songs learnt in
10. Shana Rama Ikananu Todi, Bhairavi, Kambhoji, Sankarabharana
and Kalyani ragas and in Adi and Rupaka
11. Kambhoji Koniyadina napai talas;
12. Sankarabharana Saroja dala netri (ii) to sing or play a given musical passage in sa,
13. Hamsadhwani Vatapi ganapatim re, ga, ma notation in any of the prescribed 24
14. Begada Nadopasana ragas.
15. Atana Ilalo pranatharthi hara (iii) to give swaras for musical phrases sung or
played;
16. Purvi Kalyani Ninnu Vina gamari
(iv) to recognise ragas from alpanas heard or
17. Shanmukhapriya Mariveredikkevaraiya rama played; and
18. Kalyani Ninnu Vina gati (v) to recognise the talas of unfamiliar songs
19. Saranga Neevada negana heard or played.
4. In addition to the individual tests there will also
Note: Candidates shall have the option of singing be common ear tests, sight-singing tests and
or playing these pieces or other classical pieces of musical dictation at the practical examination.
an equal standard.
In the practical examination, candidates may offer
Candidates shall be expected to know in outline vocal music or one of the following:
the meaning of at least six songs of the classical Vina, Gottuvadyam, Violin, Balakokil, Flute or
composers learnt by them. Nagasvaram. A vocal candidate shall sing to the
sruti accompaniment of Tambura. A vocal
2. Alapana of the following ragas
candidate may sing playing the Tambura
1. Todi 2. Saveri himself/herself or he/she may utilise the services
3. Bhairavi 4. Anandha Bhairavi of another person to provide the Tambura
accompaniment for him/her, provided this other
5. Mohana 6. Kedaragoula
person is not a candidate for this same
7. Kambhoji 8. Yadukula Kambhoji examination.
9. Sankarabharana 10. Begada
11. Kalyani
(C) WESTERN MUSIC (874)
(May not be taken with Carnatic Music or Hindustani Music)
CLASSES XI & XII
215
play the passage twice. After a short interval, he The test will not necessarily contain examples of
will play it a third and a fourth time. modulations of three different keys; the same keys
2. Candidates will be required to write from recur.
dictation a short melodic phrase, beginning on the A candidate will be at liberty to write down his
first beat of a bar, in either a major or a minor key. answers to a particular test at any stage.
Before playing the passage, the Examiner will
indicate the speed at which the pulse of the music Part B: (One paper of three hours)
moves. The key will be named, and the keynote
Candidates will be required to answer five questions:
and tonic chord sounded. The phrase will then be
two from Section A, two from Section B and the
played once throughout. It will then be played
remaining question from either Section A or
twice in sections, at short intervals of time, and
Section B.
finally the phrase will be repeated in its entirety.
3. Candidates will be required to describe SECTION A
(e.g. 'perfect 5th') intervals which are diatonic in
major keys. Two such intervals will be given (i) Harmony, etc.
without the sounding of the keynotes. Each
Four-parts chords formed on all degrees of major and
interval will be played twice.
minor scales. First the second inversions, the
4. Candidates will be required to recognise and name dominant seventh chord and its inversions, modulation
any of the following cadences - perfect, imperfect to related keys and the simple use of unessential notes.
(half - close), plagal, interrupted - occurring in a
The tests may take the form of harmonization of a
musical example in a major or a minor key played
by the Examiner. After the tonic chord has been melody in four vocal parts or in simple pianoforte
sounded, the whole musical sentence will be style, the working of a figured on unfigured bass, or
played through three times, with due deliberation, the construction of a phrase on a given harmonic
at short intervals. basis. The addition of a melody, above or below a
given melody, the writing of a melody to given words,
5. Candidates will be required to recognise the three
principal chords of a major or a minor key (in root or the completion of a melody of which the beginning
position and in first and second inversion) as is given. Analysis of the rhythmic structure of a
played by the Examiner in a continuous musical melody, phrasing, etc. Analysis of harmonic
phrase in a definite key. The phrase containing the progressions including modulations, in a
given chords will begin with a chord in root straightforward passage.
position. It will be played four times at a
reasonably slow pace, and, before each playing,
SECTION B
the tonic chord will be sounded.
6. Candidates will be required to recognise and name Prescribed Works:
simple changes of key. Three examples will be
Beethoven, Symphony No. 2 in major op 36 and one
given, each starting from the same tonic key.
of the following:
Three examples will be given, each starting from
the same tonic key, and containing one (a) Bach, Prelude and Fugue No. 16 in G minor,
modulation only. Modulations will be limited to Book I.
the dominant, sub-dominant, and relative major or (b) Schubert "Erl Kenig" (The Erl King).
minor keys. After the key has been named and the
tonic chord has been sounded, each of the three (c) Caesar Frank: the last movement from the violin
examples will be played through twice. and piano sonata.
216