ICSE Class 10 Performing Arts Syllabus 2023

PART 1: THEORY – 100 Marks

SECTION A: HINDUSTANI VOCAL MUSIC

1. (a) Non-detail terms: Sound (Dhwani), Meend, Kan (Sparsha swar), Gamak, Khatka, Tigun, Tappa, Thumri, Poorvang, Uttarang, Poorva Raga and Uttar Raga. 

(b) Detailed topics: Nad, three qualities of Nad (volume, pitch, timbre); Shruti and placement of 12 swaras; Dhrupad and Dhamar; relationship between Vadi Swar and time of singing raga. 

2. Description of the 10 ragas of Classes IX and X mentioned under ‘practical’ – their Thaat, Jati, Vadi-Samvadi, Swaras (Varjit and Vikrit), Aroha-Avaroha, Pakad, time of raga and similar raga. 

3. Writing in the Taal notation, all the 10 Taals learnt in Classes IX and X, their Dugun; Tigun and Chaugun. 

4. Knowledge of musical notation system of Pt. V.N. Bhatkhande (swara and Taal-lipi); writing ChotaKhayal, BadaKhayal, Swarmalika and Lakshangeet. 

5. Identification of Ragas of Classes IX and X (a few note combinations given). 

6. Life and contribution in brief of Amir Khusro and Pt. Vishnu Digambar Paluskar. 

7. A brief description of 4 eminent vocalists (present or recent past). 

8. Names of different parts (components) of the Tanpura with the help of a simple sketch. Tuning and handling of the instrument.

PRACTICAL

1. Singing of three alankars in Teental, Jhaptaal and Dadra each. 

2. Bhairav, Bhopaali, Desh, Bageshwari, Malkauns – Singing of Chotakhayal song in any three ragas as mentioned above (with alaaps and taans). Lakshangeet and Swarmalika in the other two ragas, One Badakhayal in any one of the above mentioned ragas (Only sthai and antara); Tarana (notation of Tarana is not required). 3. Padhant (Reciting)-Thekas of the following new taals as also those learnt in Class IX in Dugun and Chaugun, showing Tali, Khali and Matras on hands: Rupak, Jhaptaal, Tilwada, Dhamar and Deepchandi (Chanchar). 

4. Identification of ragas learnt in Classes IX and X

SECTION B 

HINDUSTANI INSTRUMENTAL MUSIC (EXCLUDING TABLA) THEORY

1. (a) Non-detail terms: Sound (Dhwani); Kan; Meend, Soot; Zamzama; Gamak; Baj; Khatka; Jhala; Tigun. 

(b) Detailed topics: Nad; three qualities of Nad (volume, pitch, timbre); Shruti and placement of 12 swaras; Maseetkhani and Razakhani Gat; Relationship between Vadi Swar and time of playing Raga. 

2. Origin and the development of the instrument. Methods of handling instruments; tuning of the instrument with a labelled diagram. 

3. Complete description of all the 10 ragas mentioned under ‘Practical’ in Classes IX and X. 

4. Writing in the Tal notation, all the 10 Taals learnt in Classes IX and X, their Dugun; Tigun and Chaugun. 

5. Writing in complete musical notation of the Maseetkhani and Razakhani Gats. 

6. Identification of Ragas (a few note combinations given) of Classes IX and X. 

7. Life and contribution in brief of Amir Khusro and Pt. Vishnu Digambar Paluskar. 

8. Brief description of four eminent instrumentalists (present or recent past).

PRACTICAL

1. Playing of three alankars in Teental, Jhaptaal and Dadra each. 

2. Bhairav, Bhopaali, Desh, Bageshwari, Malkauns – Playing of five Razakhani Gat in all the above five mentioned Ragas and one Maseetkhani Gat in any one of the five ragas as mentioned above (with alaaps, toda and jhala). Dhun (notation of Dhun is not required).

3. Padhant (Reciting)-Thekas of the following new taals as also those learnt in Class IX in Dugun and Chaugun, showing Tali, Khali and Matras on hands: Rupak, Jhaptal, Tilwada, Dhamar and Deepchandi (Chanchar). 

4. Identification of ragas learnt in Classes IX and X

SECTION C 

HINDUSTANI INSTRUMENTAL MUSIC (PERCUSSION – TABLA) THEORY

1. (a) Non-detail terms: Names of 10 Pranas, AadiLaya (Only in Dadra and Keharwa), Lehra (Nagma), Paran, Uthan, Chakkardar Tukda, Dumdar and Bedum Tihai, Gat, Padhant, 

(b) Detailed topics: Origin and development of Tabla, Basic 10 Varnas (Syllables) of Tabla, Taal Jaati System, Solo and Sangat. 

2. Brief description of four eminent percussionist (present or recent past). 

3. Writing in Taal notation, Thekas, in Thah, Dugun, Tigun and Chaugun, of all Taals learnt in Class IX and X. 

4. Names of different parts (components) of the Tabla with the help of a simple sketch. Tuning of the instrument. 

5. Identification of Taals (a few bol combinations given) of Classes IX and X.

PRACTICAL

1. Technique of producing bols on Tabla like Tirkit, Kran, etc. 

2. Development of following Taals: Teental – 1 uthan, 2 new kaydas and its 4 paltas with tihai, 1 Rela, 1 Chakardaar Tukda, 1 Damdar and Bedam Tihai, Roopak – 1 Tihai, Sooltaal – 1 Tihai, Teevra Taal – 1 Paran, Deepchandi Taal, Tilwada Taal (only Theka). 

3. Padhant (Reciting)- Thekas of all Taals of Class IX and X with development mentioned in para (2), giving Tali, Khali etc. by hands in Dugun and Chaugun. 

4. Ability to accompany with vocalist and instrumentalist with development. 

PART 2: (To be assessed internally by the School in Class X).

Practical Work in Music (Hindustani) – 100 Marks

PART 1: There will be one written paper of two hours duration carrying 100 marks.

Candidates will be required to attempt five questions from a choice of eight questions.

1. History of Carnatic music with special reference to the following composers and theorists, including their biographies and their contribution to Carnatic music: 1,2,3 and any 10 of the other 24 must be known. (1) Thyagaraja, (2) Syama Sastry, (3) Muthuswami Dikshitar, (4) Jayadeva, (5) Narayana Tirtha, (6)Venkatamakhi, (7) Paidala Gurruthy Sastry, (8) Purandaradas, (9) Somanadha, (10) Bhadrachala Ramadas, (11) Kshetrajna, (12) Arunachala Kavirayar, (13) Svati Tirunal, (14) Veena Kuppayyar,(15) Patnam Subramaina Iyer, (16) Gopal Krishna Bharati, (17) Subbarya Sastry, (18) Mysore Sadasiva Rao, (19) Pallavi Seshayyar, (20) Tallapaku Annamiah, (21) Kotiswara Iyer, (22) Muthiah Bhagavathar, (23) Mysore Vasudevachar, (24) Papanasam Sivan,(25) Suddhananda Bharati, (26) Balamurali Krishna, (27) Sadasiva Brahmendra. 

2. Classification of musical instruments into string, wind and percussion group. A general knowledge of Vina, Violin, Gottuvadyam, Tambura, Flute and Mridangam – Training of human voice and compass of the concert instruments in South India. 

3. Musical sound and voice – Pitch, intensity, and timbre – Sympathetic vibration – Resonance – Echoes – Musical intervals – Modal shift of tonic i.e. Grahabhedam.

PART 2: (To be assessed internally by the School in Class X).

Practical Work in Music (Carnatic) — 100 Marks

Course Work 

1. Candidates will be required to practice and perform singing or playing one or more musical instruments such as Tabla, Violin, etc. This practical and performance may be undertaken in connection with the topics suggested below. The practical work of candidates will be assessed by the teacher as coursework. The teacher is free to assess the course work either on the basis of continuous assessment or on the basis of periodical tests. 

2. Suggested topics for practical work: (i) Individual performances, (ii) Practice for school functions. (iii) Performance in a group of either players or singers, not necessarily in school, (iv) Making a musical instrument. 

3. In addition to the course work the candidates will be tested in singing or playing one instrument by an External Examiner. Where a candidate has chosen to make a musical instrument, the instrument may be put up for inspection by the External Examiner. Where a candidate has personally taken part in performance, tape recorded evidence may be submitted for the assessment by the External Examiner.

SECTION A: MUSICAL INSTRUMENTS

1. Musical Instruments: Sound production and playing techniques of the following families of instruments: 

(a) Keyboard family: Harpsichord, clavichord and acoustic pianoforte. 

(b) Pipe Organ 

(c) The String family: Violin, Viola, Violoncello, Double Bass. 

(d) The Guitar family: Classical, Spanish, Hawaiian guitars. 

(e) Woodwind family: Flute, Piccolo, Oboe, Clarinet, Cor Anglais, Bassoon, Saxophone. 

(f) Brass Family: Trumpet, French Horn, Trombone, Tuba. 

(g) Percussion family 

Timpani (Kettle Drums), Bass Drum, Snare Drum, Tambourine, Tubular Bells, Xylophone, Glockenspiel.

Note:  

• Candidates are expected to know the tuning notes and clefs of the following: The String family and The Guitar family. They will be expected to be able to write these on staff notation, beginning with the lowest in pitch. They are expected to know the range of any one woodwind and any one brass instrument of their choice. 
• Any TWO Similarities and TWO differences between members of the same family, for example e.g.: oboe & clarinet; flute & piccolo, trombone & tuba, etc.

SECTION B: FORMS AND ANALYSIS OF MUSIC

2. Forms of Music 

(a) Symphony 

Definition, structure (form), Sonata Form; Analysis of any one symphony of the candidate’s choice. (* format for analysis for symphony given at the end of the syllabus.) 

(b) Concerto 

Definition, structure (form); Analysis of any one Concerto (of the Classical or Romantic period) of the candidate’s choice (** format for analysis for Concerto given at the end of the syllabus.) 

(c) Jazz 

Origin, characteristics, instrumentation, Genres of Jazz: New Orleans, Swing, Bebop. 

(d) Popular Music 

Life, works, style and reasons for popular appeal of any solo artiste (vocal or instrumental) and / or band of the candidate’s choice. Genres of music may include but are not limited to: 

Folk, Country, Gospel, Soul, Reggae, Pop, Rock, R&B, Hip Hop, Electronic Music.

3. Life and Works 

(a) Life & works and unique contribution of the following composers: 

J.S Bach, G.F Handel, J. Haydn, W.A Mozart, L.van Beethoven, F. Schubert, P.I Tchaikovsky, J. Brahms, A. Dvořák. 

(b) Life, works and style of the following exponents of Jazz; Louis Armstrong, Duke Ellington, George Gershwin, Miles Davis.

Note: 

Candidates are expected to write an essay of approximately 500 words on the life, works and contribution of the composer/s and/or exponents mentioned above.

4. Technology in Music 

(a) Electronic Music 

Definition and scope of Electronic Music; description of the Theremin and the Moog Synthesizer.

(b) Basic knowledge of the following genres 

Industrial, House Music, Drum & Bass, Dubstep, Electro House. 

(c) DAW (Digital Audio Workstation) 

(i) Definition, basic features and applications of any one Home Studio DAW of the candidate’s choice. 

(ii) Definition and usage in a DAW of the following: audio samples, loops, live audio, plug-ins and Timeline. 

(iii) Applications of DAWs in Electronic Music, DJ music and new directions in music. 

5. Personal Experience 

Candidates should be able to write an essay (approximately 500 words) about their personal experiences as a musician in any one of the following areas: 

(a) As a solo singer or instrumentalist. 

(b) Member of the school choir or orchestra. 

(c) Part of a school Musical Theatre or any other production.

Note: 

The topics should be interpreted as widely as possible. Candidates should listen to a variety of music within the category title. In answering questions, which require paragraph answers, candidates should refer knowledgeably and by name, to the works to which they have listened. Questions will be framed so as to give all candidates a chance to show the following: (i) that they have heard works in a given category; (ii) that they know the characteristics of a particular category or kind of music; (iii) that they are aware of the context of a particular category or kind of music; (iv) that they know the names of prominent composers and their contribution to a particular category or kind of music.

Course Work

The Practical work of candidates in Western Music in preparation for the practical examination of: 

– The Associated Board of Royal School of Music: Grade 4, 

or a more advanced grade, 

or 

– Trinity College, London: Grade 4 or a more advanced grade, 

or 

– London College of Music: Grade 4 or a more advanced grade 

or an equivalent examination approved by the Council), will be taken as the requirement for course work in Western Music.

Final Test

The practical examination of the Associated Board of Royal School of Music, Grade 4, or a more advanced grade, or Grade 4 or a more advanced Grade of Trinity College, London, Grade 4 or a more advanced grade of London College of Music (or an equivalent examination approved by the Council), will be taken in fulfilment of the final test for practical work in Western Music.

Assessment

The result of the practical examination issued by the Associated Board of Royal School of Music, Grade 4, or a more advanced grade, or Grade 4 or a more advanced grade of Trinity College, London, Grade 4 or a more advanced grade of London College of Music (or an equivalent examination approved by the Council) will be taken as the assessment of Part 2 of Western Music.

TEMPLATE FOR ANALYSIS OF SYMPHONY

Name of the Symphony

– Key

– Composer

– Instruments used

First movement: key, time signature, tempo direction 

Exposition: both themes, closing theme/coda. Brief description of motifs, important modulations and melody/harmony/rhythm. 

Development: modulations and treatment of themes 

Recapitulation: Keys used, the second subject remains in the tonic key, bridging passage, closing theme.

Second movement: key, time signature, tempo direction 

Instrumentation used Themes, motifs, all important points of harmony, melody and orchestration 

Third & Fourth movements (the symphony may have less than three or more than four movements) as given in the above movements. All symphonic forms such as Sonata Form, Theme and Variations, Minuet and Trio, Scherzo, Sonata-Rondo, where applicable, must be described clearly.

** TEMPLATE FOR ANALYSIS OF CONCERTO

 Definition, origin

– Name of the Concerto

– Key

– Composer

– Instruments and solo instruments used

First movement: key, time signature, tempo direction 

Description of melodic and harmonic progression, key modulations, the role of the solo instrument, cadenza (if used), and Sonata Form (if used). Note: the cadenza format should be defined. 

Second Movement: key, time signature, tempo direction Description of melodic and harmonic progression, key modulations, the role of the solo instrument. 

Third Movement: key, time signature, tempo direction 

Description of melodic and harmonic progression, key modulations, the role of the solo instrument, cadenza (if used), and Sonata Form (if used). 

PART 1: Theory – (100 Marks) 

Candidates will be required to attempt five questions out of eight questions.

1. Identification of different classical dance styles in India. The aesthetic appeal of each, highlighting the distinctiveness of the individual styles, namely Bharatanatyam, Kathak, Odissi, Kuchipudi, Manipuri and Kathakali. 

2. The mythological evolution of dance and an elementary understanding of important texts like the Natya Shastra, and storylines associated with classical dance in India. Also, an appreciation of the myths surrounding the lives of Ganesh, Krishna, Shiva, Vishnu, etc. 

3. The sociological development of dance – its history, roots, growth and revival. 

4. An understanding of the guru-shishya parampara (including the tradition and lineage associated with the chosen dance form only). 

5. Prominent exponents of the various different classical dance styles listed above. 

6. An understanding of the dance repertoire and musical accompaniment (for the chosen dance style only). 

7. The relevance of dance in today’s world and the modern developments in dance

PART 2: To be assessed internally by the School.

Practical Work in Indian Dance – 100 Marks

Course Work

The practical section is divided into two parts:

1) Nritya

2) Abhinaya

1. Nritya

(i) The basic body stances and positions, the neck and eye movements of the chosen dance style. 

(ii) A minimum of 15 steps in Nritya to be executed in the 3 speeds of slow, medium and fast. 

(iii)An understanding of the different rhythms (Tal) and the ability to perform a particular Tal in a passage of dance. 

(iv) Recitation of the Bols (syllables) and the ability to present the spoken syllables in dance. 

(v) Individual presentation of a short Nritya item.

2. Abhinaya

(i) Knowledge of the Asamyuta (single hand gestures) and Samyuta (double hand gestures) used in Abhinaya. 

(ii) The Deva Hastas (Brahma, Vishnu, Shiva, Krishna, Ganesh, etc.) with their attributes. 

(iii)The DasavatarHastas (gestures depicting the 10 avatars of Vishnu). 

(iv) A basic knowledge of the Nava Rasas (nine emotions) used in dance, namely: 

a) Shringar – love 

(b) Hasya – mirth 

(c) Karuna – compassion 

(d) Roudra – anger 

(e) Veera – strength 

(f) Bhayanaka – fear 

(g) Bhibatsa – disgust 

(h) Adbuta – wonder 

(i) Shantam – peace 

(v) Individual presentation of a short item of Abhinaya

SECTION A

Six questions shall be set in this Section. Candidates will be required to evaluate and analyse material as part of a drama process. Resource material would be provided in each question in the form of extracted pieces from plays, themes, situations or printed visual sequences. The resource materials are expected to form stimuli that would be used by candidates to answer the question. Answers can be in the form of a written commentary and may be accompanied by sketches, diagrams and notes as required. Candidates would be permitted to creatively add dialogue to the stimuli provided for each question.

Candidates will be expected to have an appreciation of the following elements: 

1. Use of people, space and conflict in drama. 

2. The function of the director. 

3. The actor – basic technique (Stage positions; Body positions used by actors – in relation to the audience and to other actors; Turns and gestures; Movement and approaches; Entering and exiting; Handling of properties), body, voice and role. 

4. The stage – its various parts and different types of staging (proscenium arch theatre, central staging, street theatre, folk theatre, puppetry). 

5. Composition, picturisation, movement, rhythm, dramatisation. 

6. Literature: no specific texts are prescribed, but candidates need to have studied some extracted pieces as examples, which may include Pygmalion, Galileo, A Doll’s House, Antigone and Improvise.

SECTION B

Four questions shall be set in this Section. Candidates will be expected to have working knowledge of the technical skills used by directors, actors, and designers (sets, costumes, make-up, lighting and sound). Questions will be set using resource material as a basis for technical design – candidates will be permitted to use sketches, notes and diagrams as part of their answers. 

Candidates will be expected to have an appreciation of the following elements: 

1. Use of the stage and emphasis through set design, positions, compositions and movement; Blocking and its relation to the composition. 

2. The production process; Rehearsals. 

3. Equipment – from auditorium to backstage; Sets (including parts of stage equipment used in a set); Properties. 

4. Lighting and sound – equipment and design. 

5. Costumes and make-up (including design). 

6. Stage management. 

7. Different types of staging (as given in Section A) and their effect on technical aspects of a production.

PART 2: To be assessed internally by the School.

Practical Work in Drama – 100 Marks

Course Work

The practical section is divided into two parts – Acting and Stagecraft – both of which must be studied by candidates. 

1. Acting: Candidates will be required to practise and perform as actors. This practical and performance may be undertaken either as acting 196 an original piece or acting a piece/extract from a play. The practical work of candidates will be assessed by the teacher as coursework. 

The teacher is free to assess the course work either on the basis of continuous assessment or on the basis of periodical tests. Where a candidate has personally taken part in the performance, video-recorded evidence and reviews may be submitted for assessment by the External Examiner. 

2. Stagecraft: In addition to the course work on Acting, the candidates will be tested in one element of stagecraft by the teacher and by an External Examiner. Candidates will be required to choose one area from (i) Costumes, (ii) Makeup, (iii) Stage design including sets, (iv) Lighting, (v) Sound. Candidates should present designs prepared based on a play that has been developed as coursework during the year. Photographs, designs and video tapes may be submitted for assessment by the External Examiner where the candidate has prepared a design for performance.