Himachal Pradesh Board Music (Hindustani Vocal) Syllabus for Class 12


Himachal Pradesh Board Syllabus for Class 12 Music (Hindustani Vocal)

A. Theory

Time: 3 hrs

Marks: 25

1. (a) Definition of the following :

Varna, Grama, Murchana, Alankar, Gamaka, Khatka, Murki, Kan, Laya and Tala.

(b) Classification of Ragas. Time theory of Ragas.

2. (a) Brief history of ancient Hindustani Music with special reference to Sangeet Ratnakar. (Brief history of medieval and modern period of Hindustani Music with special reference of Sangeet Parijata and the works of Pt. Bhatkhande).

3. Description of the Ragas prescribed for Class XII Practical.

4. To recognise the Ragas from given passages of Swaras.

5. Writing of Notation of prescribed Songs and Talas.

6. Biography of musicians.
(i). Ustad Abdul Karim Khan
(ii). Ustad Fayaz Khan
(iii). Pt. Krishan Rao Shankar
(iv). Ustad Bade ghulam Ali Khan
(v). Tyagaraj
(vi). Purandan Ghosh

B. One Practical Paper

Marks: 60

1. (a) One Drut Khayal in Bihag, Bhairav, Kedar and Bhimpalasi with simple elaborations.

(b) One Tarana, one Dhrupada, one Dhamar in any prescribed raga.

(c) One Thumri or Dadra style Composition in Khamaj or a devotional song.

(d) One Swarmalika in any Raga

2. The recitation of Thekas Kehrwa, Dadra, Jhaptaal, Rupak Tilwada and Dhamar with Dugun, keeping Tala with hand beats.

3. Ability to sing Aroha, Avaroha, Pakad and Simple Swar Vistar with Alap and Tana in the prescribed Ragas.

4. Ability to recognize the prescribed Ragas from the passages of Swaras rendered by the Examiner.

List of questions for the guidance of the examiners

1. Tuning of Tanpura : The student may be asked to tune the Tanpura. Some questions to be asked regarding Tanpura (Parts of Tanpura)

2. Choice Raga : The student may be asked to sing a Raga prescribed in the syllabus of his / her own choice. Choice Raga with Vilambit Khyal & Drut Khyal with simple Alap & Tanas in Akar Before performing the Raga, they may be asked to sing Aroha, Avaroha and Pakad of the Raga.

3. Other Drut Khyals : It is examiner's choice, he/she may ask one or two Drut Khyals with Aroha, Avaroha, Pakad and simple elaboration in medium and fast tempo.

4. Dhrupad / Dhamar : It is examiner's choice, he/she may ask the student to sing Dhrupad or Dhamar with Dugun and Chaugun.

5. Tarana : The student may be asked to sing Tarana in any prescribed Raga with medium and fast tempo.

6. Composition in Raga Khamaj : The student may be asked to sing composition in Raga Khamaj (in Thumri style or dadra style).

7. Identification of Swaras and Ragas : The students may be asked to identify the pattern of Swaras and Ragas sung in Akar by the examiner.

8. Identification of Talas : The student should be asked to recognize the Tala, played on Tabla. The examiner can ask the student to identify more than one tala.

9. Reciting of Theka : The examiner may ask the student to recite the theka of any Tala in Thah (barabar) and Dugun with hand beats.

2. Hindustani (Instrumental Melodic)

A. Theory

1. (a) Definition of the following :-

Grama, Murchana, Varna, Alankar, Gamaka, Krintan, Zamzama.

(b) Classification of Ragas, Time theory of Ragas.

2. (a) Brief history of Ancient Hindustani Music with special reference to Sangeet Ratnakar.

(b) Brief history of medieval and Modern period of Hindustani Music with special reference to Sangeet Parijata and works of Pt. V.N. Bhatkhande.

(c) Description of the Ragas Prescribed for Class-XII Practical.

3. Description and construction of instruments opted, along with the basic techniques of playing.

4. To recognize the Ragas from given passages of Swaras

5. Writing Notation of compositions (Gat) and Talas.

6. Biographies of Musicians.
(a) Tansen
(b) Ustad Inayat Khan
(c) Ustad Mushtaq Alikhan
(d) Ustad Alauddin Khan
(e) Alladiya Khan

B. One Practical Paper

1. (a) One Razakhani gat in Bhairav, Bihag, Kedar and bhimpalasi with elaborations (Toda and Jhala) with Sthaya and Antara.
(b) Two Masitkhani compositions (gats) in a prescribed Raga with elaborations.
(c) One composition in Khamaj in Thumri style or Dhun.
(d) Ability to produce Meend in any prescribed Raga of minimum two swaras.
(e) One comosition in Ektala and one in Jhaptala.

2. Ability to play Aroha, Abaroha, Pakad, Simple Swara-Vistars with Alap and Toda in the prescribed Ragas.

3. Ability to recite Thekas of Jhaptal, Rupak, Tilwada and Dhamar with Dugun, Keeping tala with hand beats.

4. Ability to recognize the prescribed Ragas from passages of Swaras sung or played by the examiner.

5. To recognize the Swaras.

3. Hindustani (Instrumental Percussion)
(Tabla or Pakhawaj)
Time: 3hrs    72 Period

A. Theory

1. (a) Definition of the following terms.
Verna, Alankar, (Gamaka, Krintan, zamzama) Zarab, Kala, Kriya Anga, Peshkar, Chakkardar, (Classification of ragas. Time Theory of Ragas) and Rela & Paran.

(b) Comparative study of samantar Talas
(a) Chautal Ektal
(b) Jhaptal-Sul Tal
(c) Dhamar-Chautal
(d) Classification of Jatis of different patterns
(e) Classification of Layakari.

2. (a) Brief history of Ancient Hindustani Music with special reference to sangeet Ratnakara.
(b) Brief history of medieval and modern period of Hindustani Music with special reference to sangeet Parijat and the works of Pt. V. N. Bhatkhande.

3. Description of talas prescribed for Class XII practical.

4. Writing Notation of the prescribed talas.

5. Recognition of talas from given portion of the Thekas.

B. Practical Activities

1. Playing the thakas of Jhaptal and Rupak or sool tala and chautal Tala on Tabla with simple elaborations.

2. 2 Peshkaras 2 Qayadas, 2 Tukras and a few gats in Tental, Ektal and Jhaptal or chautal and Dhamar.

3. Playing the Thekas of rupak, Tilwara in Chautaal and dhamar with dugun and chaugun, with Mukhda and Tihai.

4. Recitation of the prescribed talas with dugun and chaugun keeping tala with hand beats.

5. A few simple laggis is Dadra tala or Chautal on Pakhawaj.

6. Knowledge of tuning of the instrument.

List of Questions for the Guidance of the Examiner

1. Tuning of Instrument : The students should be asked to tune the instrument. Some questions should be asked regarding instruments.

2. Choice Tala : The student should be asked to play the Tala of his/her own choice (Prescribed in the syllabus) with elaborations, Peshkar, Quayada, gat, Tukra and Tihai.

3. Tala of Examiner's Choice : The student should be asked to play the tala of examiner's choice with elaborations (Teen Tala/Jhap Tala/Ek Tala/Roopak Tala)

4. Tala in Dugun Chaugan with Mukhda and Tihai : (Examiner's choice the examiner may ask to play any (Roopak/Tilwara/Chautala/Dhamar Tala)

5. To recite the Tala with hand beats : The student should be asked recite the theka of Tala in Thah, (Barabar) Dugun and Chaugum hand boats. The examiner may ask the student to play more than tala.

6. Laggi in Dadra Tal : The student should be asked to play accompaning a song set to Dadra Tala sung by the examiner.

7. Questions regarding Laya & Tala : Some questions should be asked regarding Laya (Vilambit Madhya and Drut Laya) and Tala (Roopak, Jhaptal, Ektal, etc.)

Books Recommended: Any book confirming to the Syllabus

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