{"id":10347,"date":"2023-12-19T12:38:05","date_gmt":"2023-12-19T07:08:05","guid":{"rendered":"https:\/\/saraswatisangeetsadhana.com\/?post_type=product&p=10347"},"modified":"2023-12-19T14:57:32","modified_gmt":"2023-12-19T09:27:32","slug":"cbse-class-12-hindustani-music-percussion-instruments-notes-in-english","status":"publish","type":"product","link":"https:\/\/saraswatisangeetsadhana.com\/cbse-class-12-hindustani-music-percussion-instruments-notes-in-english\/","title":{"rendered":"CBSE Class 12 Hindustani Music Percussion Instruments Notes In English Code 036 (2023-24)"},"content":{"rendered":"\r\n

CBSE Class 12 Hindustani Music Percussion Instruments Notes in English<\/span><\/h2>\r\n

HINDUSTANI MUSIC Percussion Instruments (Code \u2013 036)<\/p>\r\n

Examination Structure for Assessment (2023-24)<\/h3>\r\n

Class XII<\/h3>\r\n

TOTAL: 100 Marks<\/p>\r\n

Theory: 30 Marks<\/p>\r\n

Time: 02 hours<\/p>\r\n

Practical (External Assessment) 70 Marks<\/p>\r\n

Time: 20-25 Minutes for each candidate<\/p>\r\n

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

    Distribution of Marks<\/h4>\r\n

     <\/p>\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
    \r\n

    Sr. No.<\/p>\r\n<\/td>\r\n

    		\r\n

    Value Points<\/p>\r\n<\/td>\r\n

    		\r\n

    Marks<\/p>\r\n<\/td>\r\n<\/tr>\r\n

    \r\n

    1.<\/p>\r\n<\/td>\r\n

    		\r\n

    Tuning of Instrument and questions regarding instrument.<\/p>\r\n<\/td>\r\n

    		\r\n

    10<\/p>\r\n<\/td>\r\n<\/tr>\r\n

    \r\n

    2.<\/p>\r\n<\/td>\r\n

    		\r\n

    Ability to perform choice Raga performance with Peshkar, Utham, Kayda, Rela, Tukra, Chakradar,Param and Gat in any prescribed Talas: Teentala \/Aditala Rupak \/ Tevra<\/p>\r\n<\/td>\r\n

    		\r\n

    20<\/p>\r\n<\/td>\r\n<\/tr>\r\n

    \r\n

    3.<\/p>\r\n<\/td>\r\n

    		\r\n

    Tala of Examiner\u2019s choice from the prescribe syllabus.<\/p>\r\n<\/td>\r\n

    		\r\n

    15<\/p>\r\n<\/td>\r\n<\/tr>\r\n

    \r\n

    4.<\/p>\r\n<\/td>\r\n

    		\r\n

    Accompaniment of Ektala \/chautal in viambit & Drut Laya<\/p>\r\n<\/td>\r\n

    		\r\n

    10<\/p>\r\n<\/td>\r\n<\/tr>\r\n

    \r\n

    5.<\/p>\r\n<\/td>\r\n

    		\r\n

    Reciting of Tala and composition with hand beats in different layas.<\/p>\r\n<\/td>\r\n

    		\r\n

    10<\/p>\r\n<\/td>\r\n<\/tr>\r\n

    \r\n

    6.<\/p>\r\n<\/td>\r\n

    		\r\n

    Practical file<\/p>\r\n<\/td>\r\n

    		\r\n

    5<\/p>\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n

     <\/p>\r\n

    * External examiner will refer to the distribution of marks while examining thecandidate forpractical examination.<\/p>\r\n

     <\/p>\r\n

    HINDUSTANI MUSIC PERCUSSION INSTRUMENTS (Code \u2013 036)<\/h3>\r\n

    Examination Structure for Assessment Class XII<\/h3>\r\n

     <\/p>\r\n

    Theory: 30 Marks<\/p>\r\n

    Time: 02 hours<\/p>\r\n

      \r\n
    1. Questions to be set with internal choice covering the entire syllabus unit wise<\/li>\r\n
    2. Candidate has to attempt at least one question from each unit.<\/li>\r\n<\/ol>\r\n

      Distribution of Marks<\/h4>\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
      \r\n

      No.<\/p>\r\n<\/td>\r\n

      		\r\n

      Units<\/p>\r\n<\/td>\r\n

      		\r\n

      No. of Periods40<\/p>\r\n<\/td>\r\n

      		\r\n

      Marks30<\/p>\r\n

       <\/p>\r\n<\/td>\r\n<\/tr>\r\n

      \r\n

       <\/p>\r\n<\/td>\r\n

      		\r\n

      Unit 1<\/p>\r\n<\/td>\r\n

      		\r\n

      08<\/p>\r\n<\/td>\r\n

      		\r\n

      06<\/p>\r\n<\/td>\r\n<\/tr>\r\n

      \r\n

      1.1<\/p>\r\n<\/td>\r\n

      		\r\n

      Short notes of the following Uthan.<\/p>\r\n<\/td>\r\n

      		\r\n

      03<\/p>\r\n<\/td>\r\n

      		\r\n

       <\/p>\r\n<\/td>\r\n<\/tr>\r\n

      \r\n

      1.2<\/p>\r\n<\/td>\r\n

      		\r\n

      Comparative study of thefollowing : Chautala \u2013Ektala Jhaptala- Sultala.<\/p>\r\n<\/td>\r\n

      		\r\n

      05<\/p>\r\n<\/td>\r\n

      		\r\n

       <\/p>\r\n<\/td>\r\n<\/tr>\r\n

      \r\n

       <\/p>\r\n<\/td>\r\n

      		\r\n

      Unit 2<\/p>\r\n<\/td>\r\n

      		\r\n

      08<\/p>\r\n<\/td>\r\n

      		\r\n

      06<\/p>\r\n<\/td>\r\n<\/tr>\r\n

      \r\n

      2.1<\/p>\r\n<\/td>\r\n

      		\r\n

      Layakari and its varietie<\/p>\r\n<\/td>\r\n

      		\r\n

      05<\/p>\r\n<\/td>\r\n

      		\r\n

       <\/p>\r\n<\/td>\r\n<\/tr>\r\n

      \r\n

      2.2<\/p>\r\n<\/td>\r\n

      		\r\n

      Brief description of Gharanas of Tabla or Pakhawaj<\/p>\r\n<\/td>\r\n

      		\r\n

      03<\/p>\r\n<\/td>\r\n

      		\r\n

       <\/p>\r\n<\/td>\r\n<\/tr>\r\n

      \r\n

       <\/p>\r\n<\/td>\r\n

      		\r\n

      Unit 3<\/p>\r\n<\/td>\r\n

      		\r\n

      05<\/p>\r\n<\/td>\r\n

      		\r\n

      06<\/p>\r\n<\/td>\r\n<\/tr>\r\n

      \r\n

      3.1<\/p>\r\n<\/td>\r\n

      		\r\n

      History of Tabla<\/p>\r\n<\/td>\r\n

      		\r\n

      05<\/p>\r\n<\/td>\r\n

      		\r\n

       <\/p>\r\n<\/td>\r\n<\/tr>\r\n

      \r\n

       <\/p>\r\n<\/td>\r\n

      		\r\n

      Unit 4<\/p>\r\n<\/td>\r\n

      		\r\n

      09<\/p>\r\n<\/td>\r\n

      		\r\n

      06<\/p>\r\n<\/td>\r\n<\/tr>\r\n

      \r\n

      4.1<\/p>\r\n<\/td>\r\n

      		\r\n

      Biographies of Pandit Kishan Maharaj , and Ustad Zakir Hussain<\/p>\r\n<\/td>\r\n

      		\r\n

      04<\/p>\r\n<\/td>\r\n

      		\r\n

       <\/p>\r\n<\/td>\r\n<\/tr>\r\n

      \r\n

      4.2<\/p>\r\n<\/td>\r\n

      		\r\n

      Silent feature of style and biography Raja Chatrapati Singh , Guru Purushotam Das.<\/p>\r\n<\/td>\r\n

      		\r\n

      05<\/p>\r\n<\/td>\r\n

      		\r\n

       <\/p>\r\n<\/td>\r\n<\/tr>\r\n

      \r\n

       <\/p>\r\n<\/td>\r\n

      		\r\n

      Unit 5<\/p>\r\n<\/td>\r\n

      		\r\n

      10<\/p>\r\n<\/td>\r\n

      		\r\n

      06<\/p>\r\n<\/td>\r\n<\/tr>\r\n

      \r\n

      5.1<\/p>\r\n<\/td>\r\n

      		\r\n

      Writing notation of the prescribed Talas and compositions<\/p>\r\n<\/td>\r\n

      		\r\n

      08<\/p>\r\n<\/td>\r\n

      		\r\n

       <\/p>\r\n<\/td>\r\n<\/tr>\r\n

      \r\n

      5.2<\/p>\r\n<\/td>\r\n

      		\r\n

      Recognition of Talas from given portion of TheThekas and compositions. Prescribe Talas: Teentala or Adi tala, Rupak<\/p>\r\n

      or Tevra<\/p>\r\n<\/td>\r\n

      		\r\n

      02<\/p>\r\n<\/td>\r\n

      		\r\n

       <\/p>\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n

       <\/p>\r\n

      Class- XII<\/h3>\r\n

       <\/p>\r\n

      Practical-100 Periods 70 Marks<\/p>\r\n

      Course Structures<\/h3>\r\n

       <\/p>\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
      \r\n

      Sr. no.<\/p>\r\n<\/td>\r\n

      		\r\n

      Topics<\/p>\r\n<\/td>\r\n

      		\r\n

      No. of<\/p>\r\n

      Periods<\/p>\r\n<\/td>\r\n<\/tr>\r\n

      \r\n

      1.<\/p>\r\n<\/td>\r\n

      		\r\n

      Ability to Play Theka of Rupak on Tabla or Pakhawaj with simple elaborations.<\/p>\r\n<\/td>\r\n

      		\r\n

      15<\/p>\r\n<\/td>\r\n<\/tr>\r\n

      \r\n

      2.<\/p>\r\n<\/td>\r\n

      		\r\n

      Three Kayda, OneRela, One Sadharan Tukra or Paran,<\/p>\r\n

      One Chakradar Tukra or Paran, One Farmaichi Chakrader<\/p>\r\n

      in prescribed Talas<\/p>\r\n<\/td>\r\n

      		\r\n

      20<\/p>\r\n<\/td>\r\n<\/tr>\r\n

      \r\n

      3.<\/p>\r\n<\/td>\r\n

      		\r\n

      a) Ability to play One Advance Kayadas \/ Relas with two<\/p>\r\n

      Paltas and Tihai, One simple Tukras, One Sadharan<\/p>\r\n

      Chakradar Tukras or Parans, Two Damdar Tihais and one<\/p>\r\n

      Paran in Rupak or Tevra Tala<\/p>\r\n<\/td>\r\n

      		\r\n

      20<\/p>\r\n<\/td>\r\n<\/tr>\r\n

      \r\n

      4.<\/p>\r\n<\/td>\r\n

      		\r\n

      Recitation of the prescribed Talas and composition with<\/p>\r\n

      Thah, Dugun and Chaugun Laya keeping Tala with hand<\/p>\r\n

      beats.<\/p>\r\n<\/td>\r\n

      		\r\n

      18<\/p>\r\n<\/td>\r\n<\/tr>\r\n

      \r\n

      5.<\/p>\r\n<\/td>\r\n

      		\r\n

      A few simple laggis in Dadra on Pakhawaj<\/p>\r\n<\/td>\r\n

      		\r\n

      6<\/p>\r\n<\/td>\r\n<\/tr>\r\n

      \r\n

      6.<\/p>\r\n<\/td>\r\n

      		\r\n

      Knowledge of tuning of instrument opted for<\/p>\r\n<\/td>\r\n

      		\r\n

      05<\/p>\r\n<\/td>\r\n<\/tr>\r\n

      \r\n

      7.<\/p>\r\n<\/td>\r\n

      		\r\n

      Solo performance of any one Tala of choice from the<\/p>\r\n

      prescribed syllabus for 10-15 minutes<\/p>\r\n<\/td>\r\n

      		\r\n

      10<\/p>\r\n<\/td>\r\n<\/tr>\r\n

      \r\n

      8.<\/p>\r\n<\/td>\r\n

      		\r\n

      Ability to accompaniment with Folk songs<\/p>\r\n<\/td>\r\n

      		\r\n

      3<\/p>\r\n<\/td>\r\n<\/tr>\r\n

      \r\n

      9.<\/p>\r\n<\/td>\r\n

      		\r\n

      Ability to accompaniment with classical music \u2013 vocal<\/p>\r\n<\/td>\r\n

      		\r\n

      3<\/p>\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n

      \u00a0<\/h2>\r\n

      \u00a0<\/h2>\r\n

      \u00a0<\/h2>\r\n

      \u00a0<\/h2>\r\n

      \u00a0<\/h2>\r\n

      \u00a0<\/h2>\r\n

      \u00a0<\/h2>\r\n

      \u00a0<\/h2>\r\n","protected":false},"excerpt":{"rendered":"

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