{"id":9253,"date":"2022-01-20T14:03:28","date_gmt":"2022-01-20T08:33:28","guid":{"rendered":"https:\/\/saraswatisangeetsadhana.com\/?post_type=product&p=9253"},"modified":"2024-04-23T02:39:34","modified_gmt":"2024-04-22T21:09:34","slug":"cbse-class-9th-music-notes-in-hindi-hindustani-vocal-code-034","status":"publish","type":"product","link":"https:\/\/saraswatisangeetsadhana.com\/cbse-class-9th-music-notes-in-hindi-hindustani-vocal-code-034\/","title":{"rendered":"CBSE Class 9th Music Notes in Hindi Hindustani Vocal Code 034"},"content":{"rendered":"\r\n

CBSE Class 9th Music Notes in Hindi<\/span><\/h2>\r\n\r\n\r\n\r\n

 <\/p>\r\n

HINDUSTANI MUSIC VOCAL (Code \u2013 034)<\/h3>\r\n

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

Theory:\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 Total: 100 Marks<\/p>\r\n

Time: 02 Hours\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 30 Marks<\/p>\r\n

Practical: \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\u00a070 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
    \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

    Choice Raga (Vilambit & Drut Khyal) any one of the following-<\/p>\r\n

    \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Bihagi<\/p>\r\n

    \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Bhimpalasi<\/p>\r\n

    \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Bhairavi<\/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

    Examiner\u2019s Choice Ragas<\/p>\r\n<\/td>\r\n

    		\r\n

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

    \r\n

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

    		\r\n

    1 Dhrupad with Dugun in any one of the prescribed Ragas.<\/p>\r\n<\/td>\r\n

    		\r\n

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

    \r\n

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

    		\r\n

    Devotional Song.<\/p>\r\n<\/td>\r\n

    		\r\n

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

    \r\n

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

    		\r\n

    Ability to recognize the prescribed ragas from the phrases of swarasrendend by the examiner.<\/p>\r\n<\/td>\r\n

    		\r\n

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

    \r\n

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

    		\r\n

    Recitation of Thekas of prescribed Talas with Thah,Dugun,Chaugun:<\/p>\r\n

    \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Teentala<\/p>\r\n

    \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Ektala<\/p>\r\n

    \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Chautala<\/p>\r\n

     <\/p>\r\n<\/td>\r\n

    		\r\n

    05+05=1<\/p>\r\n

    0<\/p>\r\n

     <\/p>\r\n<\/td>\r\n<\/tr>\r\n

    \r\n

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

    		\r\n

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

    		\r\n

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

     <\/p>\r\n

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

     <\/p>\r\n

    HINDUSTANI MUSIC VOCAL (Code \u2013 034)<\/h3>\r\n

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

     <\/p>\r\n

    Theory: \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\u00a0Total: 100 Marks<\/p>\r\n

    Time: 02 hours\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 30 Marks<\/p>\r\n

    Practical (External Assessment) \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a070 Marks<\/p>\r\n

    Time: 25-30 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<\/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
      \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

      Choice Raga (Vilambit and Drut Khayal) with simple elaborationsin prescribed Ragas (anyone) Bhairav<\/p>\r\n

      \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Bhairav<\/p>\r\n

      \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Bageshri<\/p>\r\n

      \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Malkauns<\/p>\r\n<\/td>\r\n

      		\r\n

      10+6=1<\/p>\r\n

      8<\/p>\r\n

       <\/p>\r\n<\/td>\r\n<\/tr>\r\n

      \r\n

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

      		\r\n

      Examiner\u2019s Choice Ragas<\/p>\r\n<\/td>\r\n

      		\r\n

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

      \r\n

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

      		\r\n

      One Tarana and one Dhamar with dugun and Chaugun<\/p>\r\n<\/td>\r\n

      		\r\n

      8+8=16<\/p>\r\n

       <\/p>\r\n<\/td>\r\n<\/tr>\r\n

      \r\n

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

      		\r\n

      Identification of Ragas<\/p>\r\n<\/td>\r\n

      		\r\n

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

      \r\n

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

      		\r\n

      Reciting the Thekas of Prescribed Talas with hand<\/p>\r\n

      beats withThah and Dugun and Chaugun:<\/p>\r\n

      \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Jhaptala<\/p>\r\n

      \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Rupak<\/p>\r\n

      \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Dhamar<\/p>\r\n<\/td>\r\n

      		\r\n

      5+5=10<\/p>\r\n

       <\/p>\r\n<\/td>\r\n<\/tr>\r\n

      \r\n

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

      		\r\n

      Tuning of Tanpura and questions regarding it<\/p>\r\n<\/td>\r\n

      		\r\n

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

      \r\n

      9.<\/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 the candidate for practical examination<\/p>\r\n

      HINDUSTANI MUSIC VOCAL (Code \u2013 034)<\/h4>\r\n

      Course Structure (2023-24) Class XI<\/h4>\r\n

      Theory \u201340 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\u00a030 Marks<\/p>\r\n

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

        \r\n
      1. Questions to be set with internal choice covering the entire syllabus.

        <\/li>\r\n<\/ol>\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

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

        		\r\n

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

        		\r\n

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

        		\r\n

        Marks<\/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

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

        		\r\n

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

        \r\n

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

        		\r\n

        Brief of the following -Nada, Shruti, Swar, Saptak, Thaat, Jati, Laya, Tala<\/p>\r\n<\/td>\r\n

        		\r\n

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

        		\r\n

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

        \r\n

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

        		\r\n

        Brief study of the following: Margi- Desi, Raga,<\/p>\r\n<\/td>\r\n

        		\r\n

        06<\/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

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

        		\r\n

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

        \r\n

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

        		\r\n

        Brief History of the following Dhrupad, Khayal and Tarana<\/p>\r\n<\/td>\r\n

        		\r\n

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

        		\r\n

        06<\/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

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

        		\r\n

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

        \r\n

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

        		\r\n

        Brief study of Musical Elements in Natya Shastra<\/p>\r\n<\/td>\r\n

        		\r\n

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

        		\r\n

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

        \r\n

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

        		\r\n

        Life sketch and contribution of Tansen, V.N. Bhatkhande and V.D.Paluskar.<\/p>\r\n<\/td>\r\n

        		\r\n

        04<\/p>\r\n

         <\/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

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

        		\r\n

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

        \r\n

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

        		\r\n

        Description of Prescribed Talas along with Tala Notation withThah, Dugun and Chaugun<\/p>\r\n

        \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Teentala<\/p>\r\n

        \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Ektala<\/p>\r\n

        \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Chautala<\/p>\r\n<\/td>\r\n

        		\r\n

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

        		\r\n

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

        \r\n

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

        		\r\n

        Knowledge of the Structure of Tanpura<\/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

         <\/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

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

        \r\n

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

        		\r\n

        Critical study of Prescribed Ragas along with Recognizing Ragas from phrases of Swaras and elaborating them excluding Raga Jaunpuri<\/p>\r\n<\/td>\r\n

        		\r\n

        04<\/p>\r\n

         <\/p>\r\n<\/td>\r\n

        		\r\n

        06<\/p>\r\n

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

        \r\n

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

        		\r\n

        \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Writing in natation the compositions of<\/p>\r\n

        \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 PrescribedRagas Bihag<\/p>\r\n

        \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Bhimpalasi<\/p>\r\n

        \u00b7\u00a0\u00a0\u00a0\u00a0\u00a0 Bhairavi<\/p>\r\n<\/td>\r\n

        		\r\n

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

        		\r\n

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

        Class \u2013 XI<\/h4>\r\n

        Practical -100<\/p>\r\n

        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\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\u00a070 Marks<\/p>\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

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

        		\r\n

        No. of periods<\/p>\r\n<\/td>\r\n<\/tr>\r\n

        \r\n

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

        		\r\n

        One vilambit Khayal with simple elaborations and few tanas in any one of the prescribed Ragas.<\/p>\r\n<\/td>\r\n

        		\r\n

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

        \r\n

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

        		\r\n

        One Drut Khayal with simple elaboration and few tanas in the following Ragas- Bihag, Bhairavi and Bhimpalasi.<\/p>\r\n<\/td>\r\n

        		\r\n

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

        \r\n

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

        		\r\n

        One Dhrupad with Dugun in any one of the prescribed Ragas.<\/p>\r\n<\/td>\r\n

        		\r\n

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

        \r\n

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

        		\r\n

        One Devotional Songs.<\/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

        Ability to recognize the prescribed Ragas from the phrases of Swaras rendered by the Examiner.<\/p>\r\n<\/td>\r\n

        		\r\n

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

        \r\n

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

        		\r\n

        Recitation of the Thekas of Teentala, Chautala and<\/p>\r\n

        Ektala with Dugun and Chaugun, keeping Tala with<\/p>\r\n

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

        		\r\n

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

         <\/p>\r\n

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

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