CBSE Class 12 Hindustani Melodic Instruments Syllabus 2026-27

HINDUSTANI MUSIC – MELODIC INSTRUMENTS Subject Code - 035 Class - XII (2026-27)

Introduction

The course in Hindustani Melodic Instruments at Secondary and Senior Secondary level is being offered to students for the holistic development of their personality. Hindustani Instrumental Music, in coherence with Hindustani Music, has evolved as one of the finest and foremost solo Instrumental music around the globe today. Enriched with soulful acoustic sound and beautifully crafted features, these instruments have sound scientific background. Inheriting the concept of Ragas and Talas as the key features, Hindustani Music distinguishes itself from any other music in the world, representing India's unique and rich cultural heritage. It is one of the two major traditions of Indian Classical Music, the other being the Carnatic music. Hindustani Music developed in North India with roots tracking back to the Vedic period, and evolved significantly during the medieval era. Often known as a Raga Music, various musical forms have evolved over time in Hindustani music such as Dhrupad, Dhamar, Khayal, Tarana etc. Initially being accompanying instruments to these Vocal forms for centuries, various instruments such as Rudra, Veena, Surbahar, Sitar, Sarod, Sarangi, Santoor etc. have established themselves as solo instruments today. Under the process of refinement for decades, these instruments are fully capacitated to deliver the embellishments (meend, kan, khatka, gamak etc.) of notes, in accordance with the various moods of Indian Ragas.

Objectives

It is important to carry forward the rich heritage and tradition of Indian Classical Music to the next generation and to familiarize students with its rich history and diversity.

To ensure the correct rendering of nuances of Hindustani Ragas, pedagogical interventions involving the indigenous, traditional face-to-face Guru- Shishya (teacher – student) style are incorporated.

• Structures of various Hindustani musical forms such as Dhrupad, Dhamar, Khayal, Tarana, Razakhani and Maseetkhani gats in the raga music can be learnt properly through face to face teaching methodology.

Students not only learn a vital aspect of Indian culture, but also develop skills and qualities that benefit their overall growth and personality development.

Music is very closely associated with many Science and Arts disciplines. The aim is also to focus on making students aware of the interdisciplinary approaches in various musical concepts.

Learning Outcomes

Understanding the concepts of Indian Classical Music.

Ability to handle, and adopt the techniques of instrumental music on the instrument opted for

Proficiently performing raga delineation on the instrument opted for.

Understanding time cycles (talas), rhythmic patterns and layakaris.

Developing a scientific approach in all aspects, through the systematic training adopted during the teaching – learning process.

Understanding other disciplines and their relation to various aspects of Indian Classical Music.

HINDUSTANI MUSIC – MELODIC INSTRUMENTS Subject Code - 035 Class XII (2026-27)

<u>Assessment Design</u>

S.No Component Marks

Α Theory 30

В Practical 70

Curriculum & Examination Structure

1. Theory

Max. Marks 30

Time: 02 hours

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

No. Units Marks

Units 1 06

1.1 Brief study of the following Gram, Murchhana, Alankar, Alap, Tana. 1.2 Brief study of the following Gamak, Meend, Kan, krintan, Zamzama, Ghaseet, Sut. Unit 2 06

2.1 Historical development of Time Theory of Ragas Unit 3 06

3.1 Detail study of the following Sangeet Ratnakar Sangeet Parijat 3.2 Life sketch and Contribution of Inayat Khan, Mushtaq Ali Khan, Alauddin Khan. Unit 4 06

4.1 Description of Prescribed Talas along with Tala Notation with Thah, Dugun, Tigun and Chaugun prescribed Talas: Jhaptala, Rupak 4.2 Tuning of the Instrument opted for. Unit 5 06

5.1 Critical study of Prescribed Ragas along with Recognizing Ragas phrases of Swaras and elaborating them 5.2 Writing in Notation the Compositions of Prescribed Ragas: Bhairav, Bageshri, Malkauns

Max. Marks 70

(B) Practical

(i)Topics

1. One Razakhani Gat in prescribed Ragas Bhairav Bageshri, Malkauns with simple elaborations, Todas and Jhala.
2. One Masitkhani Gat in prescribed Ragas with simple elaborations and a few Todas.
3. Alaap, Jor, Jhala in any one of the prescribed ragas with Ability to produce meend of minimum two swaras
4. One composition in Ektala or in Jhaptala in any one of the prescribed ragas
5. Ability to recite the kas of Jhaptal, Rupak with Dugun, keeping tala with hand beats.
6. Ability to recognize the swaras of the prescribed Ragas sung or played by the examiner
7. Tuning of instrument opted for.

(ii) Distribution of Marks

Time: 15-20 Minutes for each candidate

1. External Examiners are requested to ask questions directly related to the syllabus.
2. Marks should be awarded in accordance with the marking scheme.

S.No. Value Points Marks

1. 2.

prescribed Ragas: <math>10+5=15</math>

1. Bhairav
2. Bageshri
3. Malkauns
4. prescribed Ragas 15
5. 5. One composition in Ektala or in Jhaptala. 05
6. Identifying the prescribed Ragas. 5+5=10
7. Thah, Dugun and Chaugun:
8. Jhaptala
9. Rupak
10. Practical File 05

• External Examiner will refer to the distribution of Marks while examining the candidate for Practical Examination.