CISCE Syllabus For Class 12 Indian Music - Carnatic (Theory): Knowing the Syllabus is very important for the students of Class 12. Shaalaa has also provided a list of topics that every student needs to understand.
The CISCE Class 12 Indian Music - Carnatic (Theory) syllabus for the academic year 2021-2022 is based on the Board's guidelines. Students should read the Class 12 Indian Music - Carnatic (Theory) Syllabus to learn about the subject's subjects and subtopics.
Students will discover the unit names, chapters under each unit, and subtopics under each chapter in the CISCE Class 12 Indian Music - Carnatic (Theory) Syllabus pdf 2021-2022. They will also receive a complete practical syllabus for Class 12 Indian Music - Carnatic (Theory) in addition to this.
CISCE Class 12 Indian Music - Carnatic (Theory) Revised Syllabus
CISCE Class 12 Indian Music - Carnatic (Theory) and their Unit wise marks distribution
CISCE Class 12 Indian Music - Carnatic (Theory) Course Structure 2021-2022 With Marking Scheme
A. Explanation and definition of the following:
1. Production, Transmission and reception of Sounds, Volume, Pitch, and Timbre.
Relation between frequency and length of wire vis-a-vis wire tension.
2. Type of Ragas: Purva, Uttar, Sandi-Prakash, Shudha, Chhayalag, Sankirana.
3. Forms of composition: Dhrupad, Dhamar and their division in to Sathai, Antra, Alap, Tan, Meend, Andolan, Gamak, Kan.
(i) Two systems of Indian classical music.
(ii) Division of twenty two shruties among seven notes.
(iii)Formation of "That" out of Saptak.
(iv) Classification of Ragas among "Thats".
(v) Relationship between Vadi Swar and time of Raga.
(vi) Time Table of Raga.
5. Laya: Drut, Vilambit and Madhya Laya.
B. Complete theory of the following Ragas with:
1. Special reference to their notes, Aroh, Avroh, Pakar Vadi, Samvadi, time etc.
(i) Rag Asawari (ii) Rag Khamaj (iii) Rag Kafi (iv) Rag Bhairvi.
2. General Knowledge of the following Ragas:
(i) Rag Bageshwari, (ii) Rag Malkauns
3. Notation of the following Talas in Dugun and Chaugun Laya:
(i) Chartal (ii) Tivra Tal (iii) Zhaptal (iv) Kahrva.
4. Notation of note combinations, "Khyal" with Alap & Tan (Any Indian system of notation can be adopted).
5. Identification of Ragas by written note- combination
6. Comparison and contrast between Ragas.
7. Brief History of Indian Music.
8. Contribution of the following musicians:
(i) Adarang, (ii) Fiyaz Khan, (iii) Bade Ghulam Ali Khan (iv) Dagar Brothers, (v) Inayat Khan, (vi) Allaudin Khan.
9. Essay of general or topical interest on music and allied subject.
A. Explanation and Definition of the following:
1. Production, transmission and reception of Sound, Volume, Pitch and Timbre.
Relation between frequency and length of wire vis-a-vis wire tension.
2. Types of Ragas: Poorva, Uttar, Sandhi- Prakash, Shuddha, Chhayalag, Sankirna.
3. Meend, Andolan, Gamak, Kan.
(i) Two main systems.
(ii) Division of twenty-two shruties among seven notes.
(iii) Placement of Swaras on specific shruties.
(iv) Formation of "That" out of Saptak.
(v) Classification of Ragas among "Thats".
(vi) Relationship between vadi and time of Ragas.
(vii) Time of Ragas.
5. Laya: Drut, Madhya, Vilambit, Athgun Laya.
B. 1. Complete theory of the following Ragas with special reference to their notes, Aroh, Avroh, Pakar, Vadi, Samvadi time etc. and special emphasis on their Ansh, Challan and Nayas Swaras:
(i) Rag Asawari (ii) Rag Khamaj (iii) Rag Bhairavi (iv) Rag Kafi.
2. General knowledge of the following Ragas:
(i) Rag Bageshwari (ii) Rag Malkauns.
C. Notation of the following Tals in Dugun and Chaugun Laya:
(i) Chartal (ii) Tivra (iii) Zhaptal (iv) Kaharva.
D. Notation of note combination. Gat with Alap, Tora, Jhala (Any System of notation can be adopted).
E. Identification of Ragas by written notes combination.
F. Comparison and contrast between Ragas.
G. Brief history of Indian Music.
H. Contribution of the following Musicians:
(i) Adarang (ii) Fiyaz Khan (iii) Bade Ghulam Ali Khan (iv) Dagar Brothers (v) Inayat Khan (vi) Allauddin Khan.
I. Essay of general or topical interest on music and allied subjects.
J. Explanation/Definition of the following:
Chal Achal That, Zamzama, Murki, Khatka, Krintan, Kampan.
K. Brief history and origin of musical instruments.
1. The fundamental technical terms and their meanings (Ref. South Indian Music, Book 1 by P. Sambamoorthy, Chap. III, pp. 38-48).
2. Principles of Sa, re, ga, ma, notations as laid down in K.V. Srinivasa Iyengar's Music Books and in P.
Sambamoorthy's "South Indian Music Series", Significance of symbols commonly used.
3. Raga classification in Carnatic Music. The scheme of the 72 Melakartas. The names of the 12 chakras. Katapayadi Formula and its application.
4. Lakshanas of the following 24 ragas:
1. Todi 2. Saveri 3. Chakravakam 4. Bhairavi 5. Anandha Bhairavi 6. Karaharapriya 7. Shri Ranjani 8. Ritigoula 9. Mukhari 10. Harikambhoji 11. Natakuranji 12. Kedaragoula 13. Sahana 14. Kambhoji 15. Yadukulakambhoji 16. Sankarabharana 17. Hamsadhwani 18. Begada 19. Atana 20. Nata 21. Purvakalyani 22. Shanmukhapriya 23. Kalyani 24. Saranga
5. Manodharma Sangita and its forms - Paddati in developing rage alpana and Kapana Svaras.
6. Dasavida gamakas (Ten gamakas).
7. The scheme of the 35 Talas. Chapu tala and its varieties. Desadi and Madyadi talas, Kriya, Anga. Laya, Gati, Matra (a detailed knowledge of two/ five pranas) shadhangas.
8. Musical forms and their association. An advanced knowledge of the following musical forms:
1. Gita 2. Tana Verma 3. Padavarna 4. Kriti 5. Ragamalika 6. Padam 7. Javali 8. Tillana
9. History of Carnatic Music with special reference to the following composers and theorists including their biographies and their contributions to Carnatic Music. 10 out of 20 must be known.
1. Jayadeva 2. Purandaradas 3. Ramamatya 4. Somanatha 5. Narayana Tirtha 6. Bhadrachala Ramadas 7. Venkatamakhi 8. Kshetrajna 9. Paidala Guruthy Sastri 10. Tyagaraja 11. Muthuswami Dikshitar 12. Syama Sastri 13. Arunachalam Kavirayar 14. Gopalakrishna Gharat 15. Svati Tirunal 16. Subbaraya Shastri 17. Veena Kuppayyar 18. Mysore Sadasiva Rao 19. Patnam Subramanya Iyar 20. Pallavi Seshayyar
10. Classification of musical instruments into stringed, wind and percussion group. A general knowledge of the structure of the vina, violin tampuro, gottuvadyam and flute. Tuning of the human voice and the compass of the concert instruments of South India.
11. Musical sound and voice. Pitch. Intensity and timbre. Sympathetic vibration. Resonance. Echoes, Musical intervals. Modal shift of tonic. (Grahabhedam).
A. Contribution of the following Musicians:
(i) Adarang (ii) Fiyaz Khan (iii)Bade Ghulam Ali Khan (iv) Dagar Brothers (vi) Allauddin Khan
B. Essay of general or topical interest on music and allied subjects.
C. Brief history of Indian music.
D. Five Pranas of Tal and explanation thereof:
(i) Grah (Sam, Visham, Atit, Anaghat)
(ii) Jati (Chatasra, Tisra, Misra, Khand, Sankirna)
E. Explanation of the following:
(i) Sath (ii) Tihai (Damdar/Bedam) (iii) Ga (iv) Kayada (v) Palta (vi) Rela (vii) Laggi (viii) Lar
F. Complete Tal notation of the following Tals: (i) Jhaptal (ii) Dadra (iii) Tilwara (iv) Dhamar (vi) Jhoomra
G. Tal rotation of Kayada, Palta, etc., with clear indication of Sam, Tali, Khali, Vibhag, etc.