ICSE Syllabus Performing Arts A

ICSE Syllabus Performing Arts 2012. Download the latest syllabus to do your studies as per the latest guidelines issued by CBSE NCERT. The syllabus, weightage of chapters, blue print of question papers and the design of question papers is issued every year for the benefit of students. Access all syllabus for all subjects here. 

PERFORMING ARTS (91 – 95)

Aims:

1. To develop a perceptive, sensitive and critical response to music, dance and drama in its historical and cultural contexts.

2. To stimulate and develop an appreciation and enjoyment of music, dance and drama through active involvement.

3. To balance the demands of disciplined skills and challenging standards in an environment of emotional, aesthetic, imaginative and creative development.

4. To develop performing skills, and so encourage a participation in the wide range of performance activities likely to be found in the school and community.

5. To develop a co-operative attitude through the organisation and participation associated with music, dance and drama.

6. To provide an appropriate body of knowledge with understanding, and to develop appropriate skills as a basis for further study or leisure or both.

One of the following five syllabuses may be offered:

Hindustani Music (91)

Carnatic Music (92)

Western Music (93)

Indian Dance (94)

Drama (95)

HINDUSTANI MUSIC

CLASS IX

There will be one paper of two hours carrying 100 marks and Internal Assessment of 100 marks.

The syllabus is divided into three sections:

Section A - Vocal Music

Section B - Instrumental Music

Section C - Tabla

Candidates will be required to attempt five questions in all, two questions from Section A and either three questions from Section B or three questions from Section C.

PART 1: THEORY – 100 Marks

SECTION A

HINDUSTANI VOCAL MUSIC

THEORY

1. Elementary knowledge of the following:

Sangeet; two main systems of Indian Music; Nad, Shruti, Sthan, Swara, Shuddha and Vikrit swars; Saptak; That or Mela; Varna; Alankara; Raga, Janak That, Janya Ragas and Ashraya raga; Jati (Odava, Shadava, Sampoorna); Vadi, Samvadi, Anuvadi, Vivadi swaras; Varjya swara; Graha, Ansha, Nyas swaras; Vakra swaras; Pakar; Poorvang; Uttarang; Poorva Raga, Uttara Raga; relation between Vadi swara and the time of singing ragas; Swaramalika, Lakshangeet, Khyal, Dhrupad, Sthayi, Antara, Sanchari, Abhog; Tan, Alap; Laya (Vilambit, Madhya, Drut); Matra, Vibhag, Tala, Avartan, Sam, Tali, Khali, Theka; Thah (Barabari or Ekgun), Devigun (Dugun), Chaugun.

2. Description of the eight ragas mentioned under ‘practical’ – their That, Swaras, Aroha-Avaroha, Pakar, Jati, Vadi-Samvadi, time and simple Swara-Vistara (alap).

3. Description of the five talas mentioned under ‘practical’; writing them in Thah and Dugun in Tala notation.

4. Knowledge of musical notation system (swara and Tala-lipi); writing easy Khyal songs (only Sthayi and Antara) in musical notation.

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