ICSE Class 9 Performing Arts Syllabus for Board Exam 2026-27, Download PDF Here

Particulars

Description

Conducting Body 

Council for the Indian School Certificate Examinations

Academic Session

2026-27

Official Website 

cisce.org

Board Exam

Conducted in February-March for Class 9.

Exam Paper Duration

2 Hours 

Total Marks 

80 Marks for Theory and 20 for Internal Assessment (100 Marks)

Subject 

Elective: Performing Arts (91-95) Subject Code 54

Content 

Description

PART 1: THEORY – 100 Marks

SECTION A: HINDUSTANI VOCAL MUSIC

1. (a) Non-detail terms: Sangeet; two main systems of Indian Music; Naad, Saptak; Thaat; Alankar; Raga, Janak-Janya Ragas and Ashraya raga; Vadi, Samvadi, Anuvadi, Vivadi; Aroha, Avaroha, Pakad; Chal and

AchalSwara. Sthayi, Antara; Taan, Alaap; Matra, Vibhag, Taal, Avartan, Sam, Tali, Khali, Theka; Thah (Barabar or Ekgun), Dugun, Chaugun.

(b) Detailed topics: Swara (Shuddha and VikritSwars), Jati (Odava, Shadava, Sampoorna), Laya (Vilambit, Madhya, Drut), Varna (Sthai, Arohi, Avarohi, Sanchari), Forms of Geet – Swaramalika, Lakshangeet, Khayal (BadaKhayal and ChotaKhayal), Dhrupad.

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

3. Description of the five taals mentioned under

‘practical’; writing them in Thah and DugunTaal notation.

4. Knowledge of musical notation system of Pt.

V.N. Bhatkhande (Swara and Taal-lipi); writing ChotaKhayal, Swarmalika and Lakshangeet,

Dhrupad (only Sthayi and Antara) in musical notation.

5. Identification of ragas with the help of given short Swara-vistar.

6. Life and contribution in brief of Tansen and Pt. V.N. Bhatkhande.

PRACTICAL

1. Singing and identifying Shuddha and VikritSwaras.

2. Idea of Laya; Vilambit, Madhya and Drutlayas.

3. Singing of 10 alankars in Dugun and Chaugun Laya.

4. Yaman, Khamaj, Kafi, Bhairavi, Alhaiya Bilawal - Singing of one Madhya laya khayal song in any three ragas as mentioned above (with alaaps and taans). Lakshangeet and Swarmalika in the other two ragas, One Dhrupad Geet in any one raga (Only sthai and antara); National Anthem - Jana

Gana Mana and National Song - VandeMataram (notation is not required).

5. Padhant (Reciting): Thekas of the following five taals with Taali, Khali shown on hands: Teen Taal, Keharwa, Dadra, Ektaal and Chartaal; their Dugun also.

6. Identification of ragas

SECTION B

HINDUSTANI INSTRUMENTAL MUSIC

(EXCLUDING TABLA)

THEORY

1. (a) Non-detail terms: Sangeet; two main systems

of Indian Music; Naad, Saptak; Thaat; Alankar; Raga, Janak-Janya Ragas and Ashraya raga; Vadi, Samvadi, Anuvadi, Vivadi; Aroha, Avaroha, Pakad;Chal and AchalSwar. Chal and AchalThaat, Toda, Alaap; Matra, Vibhag, Taal, Avartan, Sam, Taali, Khali, Theka; Thah (Barabar or Ekgun), Dugun, Chaugun.

(b) Detailed topics: Swara (Shuddha and VikritSwars), Jati (Odava, Shadava, Sampoorna), Laya (Vilambit, Madhya, Drut), Varna (Sthai, Arohi, Avarohi, Sanchari), Forms of Gat (Maseetkhani and Razakhani).

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

3. Description of the five taals mentioned under practical’; writing them in Thah and Dugun in Taal notation.

4. Knowledge of musical notation system of Pt. V.N. Bhatkhande (swara and Taal-lipi); writing Razakhani Gat (with Bols).

5. Identification of ragas with the help of given short Swara-vistar. Life and contribution in brief of Tansen and Pt. V.N. Bhatkhande. he instrument; correct posture and finger movement.

2. Playing of 10 alankars in Thah, Dugun and Chaugun.

3. Yaman, Khamaj, Kafi, Bhairavi, AlhaiyaBilawal – Playing of one Razakhani Gat in all the ragas as mentioned above (with alaaps and todas). Dhun in any raga mentioned above. National Anthem-Jana

Gana Mana and National Song – Vande Mataram (notation is required).

4. Padhant (Reciting) - Thekas of the following five taals with Taali, Khali shown on hands: Teen

Taal, Keharwa, Dadra, Ektaal and Chartaal; their Dugun also.

5. Identification of ragas.

6. Playing of simple Bols like Da Ra Da Ra, Da Ra Dir Dir, Da Dir, Da Ra, etc.

SECTION C

HINDUSTANI INSTRUMENTAL MUSIC

(PERCUSSION - TABLA)

THEORY

1. (a) Non-detail terms: Matra, Taal,Vibhag; Sam; Tali, Khali, Avartan, Theka, Kayada, Palta, Tihai, Mohra, Mukhada, Tukda, Kismen (varieties of Theka) and Peshkara. 

(b) Detailed topic: Laya (Vilambit, Madhya and Drut), Layakari (Thah, Dugun, Tigun and Chaugun), Origin and development of Tabla.

2. Writing in Taal-notation of the six Taals mentioned under ‘practical’; with their simple development; writing of Thekas in Thah, Dugun and Chaugun layakaris.

3. Basic knowledge of: Sangeet,Swara and Saptak,

PRACTICAL

1. Knowledge and practice of Vilambit, Madhya and Drut layas as also of Thah, Dugun and Chaugun, with the help of Tali, Khali and matras on hands while reciting Thekas of Taals prescribed.

2. Technique of producing main syllables of Tabla and Bayan (Varnas) like Ta, Dha, Ge, Kat, Tin, Dhin, Tita etc.

3. Playing of Thekas of the following six Taals with development: two kaayadas and its four paltas with tihai in Teentaal, One tukda in each Jhaptaal and Ektaal, one paran in chaartaal, two kismen each in Dadra and KeharwaTaal.

4. Accompaniment (Sangat) in Taals (Dadra and Keharwa).

5. Padhant (Reciting) - Thekas in Thah and Dugun.

Simple developments of Taals mentioned in para

(3), showing Taali, Khali etc. on hands

1. The fundamental technical terms and their meanings.

2. Principle of Sa, Re, Ga, Ma, notations - significance of symbols commonly used.

3. Raga classification in Carnatic music - scheme of 72 melakarthas - the names and syllabus of 12 chakras - katapayadi formula and its application - 8 kinds of janyaragas - ragalakshana.

4. Lakshanas of the following 16 ragas: Todi; Bhairavi; Kharaharapriya; Kalyani; Sankarabharanam; Shanmukhayriya; Amavardhini; Chakravakam; Kambhoji; Anandabhairavi; Bilahari; Saveri; PoorviKalyani; Hindolam; Mohana; Hamsadhwani.

5. Manodharmasangita and its forms, Raga, Alapana pad-dhai - kalpanasvaras - Dasavidhagamakas.

6. The scheme of 35 talas - Chaputala and its varieties - Desadi and Madhayaditalas - Kriya -

Anga - Laya - Gati - Matra (a detailed knowledge of any two) - Shadangas.

7. Musical forms and their classification - An advanced knowledge of the following musical forms: Gita, Tanavarna, Padavarna, Kriti, Ragamalika, Padam, and Javali.