{"id":681,"date":"2020-12-28T23:41:39","date_gmt":"2020-12-28T18:11:39","guid":{"rendered":"https:\/\/onlinesangeet.com\/?p=681"},"modified":"2023-03-21T16:21:30","modified_gmt":"2023-03-21T10:51:30","slug":"cbse-class-ix-music-vocal-syllabus-2020-21","status":"publish","type":"post","link":"https:\/\/onlinesangeet.com\/cbse-class-ix-music-vocal-syllabus-2020-21\/","title":{"rendered":"CBSE Class – IX 9TH HINDUSTANI MUSIC VOCAL (Code \u2013 034) SYLLABUS 2020 – 2021"},"content":{"rendered":"\n\n
\n \n
\n \n
\n
\n \n\n
<\/div>\n <\/div>\n
\n \n\n
<\/div>\n <\/div>\n
\n \n\n
<\/div>\n <\/div>\n
\n \n\n
<\/div>\n <\/div>\n
\n \n\n
<\/div>\n <\/div>\n <\/div>\n \n
\n
\n \n\n
<\/div>\n <\/div>\n
\n \n\n
<\/div>\n <\/div>\n
\n \n\n
<\/div>\n <\/div>\n
\n \n\n
<\/div>\n <\/div>\n
\n \n\n
<\/div>\n <\/div>\n <\/div>\n<\/div>\n \n\n
\n 5\/5 - (1 vote) <\/div>\n <\/div>\n

HINDUSTANI MUSIC VOCAL (Code \u2013 034) Examination Structure for Assessment (2020-21) Class IX<\/span><\/strong><\/h4>\n

 <\/p>\n

TOTAL: 100 Marks\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Time: 02 Hours<\/span><\/p>\n

Theory : 30 Marks\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Practical :50 Marks<\/span><\/p>\n

Time: 15-20 Minutes for each candidate<\/p>\n

    \n
  • Examiners are requested to ask the questions directly related to the syllabus.<\/li>\n
  • Marks should be awarded in accordance with the marking scheme.<\/li>\n<\/ul>\n

     <\/p>\n

    Distribution\u00a0of Marks<\/span><\/strong><\/h5>\n

    Sr. No.<\/p>\n

    Value Points\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Marks<\/span><\/p>\n

     <\/p>\n

      \n
    1. \u00a0Alankaras set to all prescribed Ragas and Talas\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a04 marks<\/span><\/strong><\/li>\n
    2. \u00a0One Swarmalika and one Lakshan Geet\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 6 marks<\/span><\/strong><\/li>\n
    3. Aaroha, Avaroha, Pakad and Drut\u00a0 Khayal with few Aalaps and\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 24 marks<\/span><\/strong><\/li>\n<\/ol>\n

      Tanas in each of the following Ragas<\/p>\n

        \n
      • Alhaiya Bilawal<\/li>\n
      • Yaman<\/li>\n
      • Bhairav<\/li>\n
      • Kafi<\/li>\n<\/ul>\n

        4. Identification of prescribed Ragas from the passages of Swaras\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 4 rendered by the examiner\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 4 marks<\/span><\/strong><\/p>\n

        5\u00a0 \u00a0 Any three of the following:\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 6 marks<\/span><\/strong><\/p>\n

          \n
        • National Anthem<\/li>\n
        • National Song<\/li>\n
        • Patriotic Song<\/li>\n<\/ul>\n
            \n
          1. Community Song v. Devotional Song vi.\u00a0\u00a0 Folk Song<\/li>\n<\/ol>\n

            vii.\u00a0 Tribal Song\/ Regional Song<\/p>\n

             <\/p>\n

            6\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Recitation of the Thekas of the prescribed Talas with dugun\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 6 marks<\/span><\/strong><\/p>\n

              \n
            • Dadra<\/li>\n
            • Keharwa<\/li>\n
            • Jhaptala<\/li>\n
            • Ektala<\/li>\n
            • Teentala<\/li>\n<\/ul>\n

              *\u00a0\u00a0 Teachers will refer to the distribution of marks while examining the candidate for practical examination.<\/p>\n

               <\/p>\n

               <\/p>\n

              Internal Assessment\u00a0 \u00a0 \u00a0 \u00a0<\/span> <\/strong>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 20\u00a0 Marks<\/span><\/strong><\/p>\n

               <\/p>\n

              Theory\u00a0\u2013 60 Periods<\/span><\/strong><\/p>\n

              HINDUSTANI MUSIC VOCAL (Code \u2013 034) Course Structure (2020-21)<\/strong><\/span><\/h5>\n

              Class IX<\/span><\/strong><\/p>\n

              Time:2hours\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a030 marks<\/p>\n

              Questions to be set with internal choice covering the entire syllabus unit wise<\/p>\n

              Candidate has to attempt at least one question from each unit.<\/p>\n

               <\/p>\n

              Units 1\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><\/strong><\/p>\n

              1.1 Definition of\u00a0 the following:<\/p>\n

              Sangeet, Dhwani, Nada, Shruti, Swar, Saptak, Alankar, Thaat, Jati<\/p>\n

              1.2\u00a0\u00a0\u00a0\u00a0\u00a0 Definition of\u00a0 the following<\/p>\n

              Laya, Tala, Matra, Sam, Tali, Khali, Vibhag, Avarta<\/p>\n

               <\/p>\n

              Unit 2\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/span> <\/strong><\/p>\n

              2.1\u00a0\u00a0\u00a0\u00a0\u00a0 Define the following,<\/p>\n

              Raga,Aroha, Avroha, Pakad, Vadi, Samvadi, Anuvadi, Vivadi.<\/p>\n

              2.2\u00a0\u00a0\u00a0\u00a0\u00a0 Define the following<\/p>\n

              Bandish, Sthai, Antara, Swarmalika, Lakshan Geet, Khayal.<\/p>\n

              Unit 3\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/span> <\/strong><\/p>\n

              3.1\u00a0\u00a0\u00a0\u00a0\u00a0 An outline history of Hindustani Music<\/p>\n

              of modern period with special reference to the works of Pt. Vishnu Narayan Bhatkhande and Pt. Vishnu<\/p>\n

              Digambar Paluskar.<\/p>\n

              3.2\u00a0\u00a0\u00a0\u00a0\u00a0 Notation System of\u00a0 Pt. V.D Paluskar and Pt.V.N.Bhatkhande<\/p>\n

              Unit 4\u00a0 \u00a0 \u00a0<\/span><\/strong><\/p>\n

              4.1\u00a0\u00a0\u00a0\u00a0\u00a0 Description of the following Ragas: Alhaiya Bilawal, Yaman, Bhairav, Kafi<\/p>\n

              4.2\u00a0\u00a0\u00a0\u00a0\u00a0 Description and ability to do Tala- Notation of the following Talas:<\/p>\n

              Teentala, Ektala, Jhaptala, Keharwa,\u00a0Dadra<\/p>\n

               <\/p>\n

              Unit 5\u00a0 \u00a0 \u00a0 \u00a0<\/span> <\/strong><\/p>\n

              5.1\u00a0\u00a0\u00a0\u00a0\u00a0 Ability to write\u00a0 notation of compositions\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 10<\/p>\n

              in prescribed Ragas.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 06<\/p>\n

              5.2\u00a0\u00a0\u00a0\u00a0\u00a0 To Identify Ragas from the phrases\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 04 and elaborate them in swaras<\/p>\n

               <\/p>\n

              Class \u2013 IX<\/span><\/strong><\/p>\n

              Practical -160 Periods\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 50 Marks\u00a0<\/span> <\/strong><\/p>\n

                \n
              1. Eight Alankaras set to all 16 prescribed\u00a0\u00a0 Ragas and Talas.<\/li>\n
              2. One Swarmalika and one Lakshan Geet in 20 each prescribed Raga.<\/li>\n
              3. Aaroha, Avroha, Pakad and Drut Khayal 64 with few Alaps and Tanas in the following Ragas: Alhaiya Bilawal, Yaman, Bhairav and Kafi.<\/li>\n
              4. Identification of prescribed Ragas from the 12 phrases of swaras rendered by the examiner.<\/li>\n<\/ol>\n
                  \n
                1. i. National Anthem<\/li>\n<\/ol>\n
                    \n
                  • National Song<\/li>\n
                  • Patriotic Song<\/li>\n
                  • Community Song<\/li>\n
                  • Devotional Song<\/li>\n
                  • Folk Song<\/li>\n
                  • Tribal Song \/ Regional song<\/li>\n<\/ul>\n
                      \n
                    1. Recitation of the Thekas of the following 20<\/li>\n<\/ol>\n

                      Talas with Dugun, keeping Tala with hand- beats:<\/p>\n

                      Dadra, Keharwa, Teentala, Ektala, Jhaptala,<\/p>\n

                       <\/p>\n

                      HINDUSTANI MUSIC VOCAL (2020-21)<\/span><\/strong><\/h5>\n
                      (Code \u2013 034) Class IX<\/span><\/strong><\/h5>\n

                       <\/p>\n

                      Internal Assessment\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a020 Marks<\/span><\/strong><\/p>\n

                       <\/p>\n

                        \n
                      1. Project \u2013 File 05<\/span><\/strong><\/li>\n<\/ol>\n

                        \uf0b7\u00a0\u00a0\u00a0\u00a0\u00a0 Writing in notation the musical compositions of all Ragas prescribed in the syllabus<\/p>\n

                        \uf0b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Identifying the Tala of Musical compositions<\/p>\n

                        \uf0b7\u00a0\u00a0\u00a0\u00a0\u00a0 Drawing and Labelling the various parts of Tanpura.<\/p>\n

                        \uf0b7\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Description and writing the notation of prescribed Talas with Layakaries ( Thah , Dugun, Tigun, Chaugun)<\/p>\n

                        \uf0b7\u00a0\u00a0\u00a0\u00a0\u00a0 Identifying and Interviewing neighbourhood Artists.<\/p>\n

                        \uf0b7\u00a0\u00a0\u00a0\u00a0\u00a0 Knowledge about any one percussion artist<\/p>\n

                        \uf0b7\u00a0\u00a0\u00a0\u00a0\u00a0 Knowledge about any one percussion artist<\/p>\n

                         <\/p>\n

                          \n
                        1. Project 05<\/span><\/strong><\/li>\n<\/ol>\n

                          Suggestive Topics * Interrelationship of the following;<\/p>\n

                            \n
                          1. Music and Physics (Sound \u2013 Frequency, vibration, pitch, intensity, timbre)<\/li>\n
                          2. Music and Mathematics (Mathematical Calculation of laya)<\/li>\n<\/ol>\n

                            III.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Music and History (Development of Music during the medieval period)<\/p>\n

                              \n
                            1. Music and Geography (Development of Music in varied cultural zones e.g. songs, instruments in mountainous or hilly areas )<\/li>\n
                            2. Music and languages \u2013 Dialects in folk Music<\/li>\n<\/ol>\n

                              *Students may choose any one of the above topics or any other topic for project in consultation with the teacher.<\/p>\n

                                \n
                              1. Periodic practical Test, restricted to three in an academic year. 10<\/li>\n<\/ol>\n

                                Average of best two tests to be taken for final marks submission.<\/p>\n

                                Each test will examine a candidate for one Raga from the syllabus, one Devotional\u00a0 Song<\/p>\n

                                \/ Folk song \/Tribal Song \/ Regional Song and two Talas.<\/p>\n

                                 <\/p>\n

                                 <\/p>\n","protected":false},"excerpt":{"rendered":"

                                HINDUSTANI MUSIC VOCAL (Code \u2013 034) Examination Structure for Assessment (2020-21) Class IX   TOTAL: 100 Marks\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Time: 02 Hours Theory : 30 Marks\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ub_ctt_via":"","_jetpack_memberships_contains_paid_content":false,"_joinchat":[],"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[69],"tags":[],"jetpack_publicize_connections":[],"featured_image_src":null,"author_info":{"display_name":"Online Sangeet","author_link":"https:\/\/onlinesangeet.com\/author\/online456\/"},"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/onlinesangeet.com\/wp-json\/wp\/v2\/posts\/681"}],"collection":[{"href":"https:\/\/onlinesangeet.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/onlinesangeet.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/onlinesangeet.com\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/onlinesangeet.com\/wp-json\/wp\/v2\/comments?post=681"}],"version-history":[{"count":1,"href":"https:\/\/onlinesangeet.com\/wp-json\/wp\/v2\/posts\/681\/revisions"}],"predecessor-version":[{"id":7484,"href":"https:\/\/onlinesangeet.com\/wp-json\/wp\/v2\/posts\/681\/revisions\/7484"}],"wp:attachment":[{"href":"https:\/\/onlinesangeet.com\/wp-json\/wp\/v2\/media?parent=681"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/onlinesangeet.com\/wp-json\/wp\/v2\/categories?post=681"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/onlinesangeet.com\/wp-json\/wp\/v2\/tags?post=681"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}