CBSE Class 11 Syllabus 2024 – 25 For Class 11 Carnatic Percussion Syllabus Download Online CBSE Syllabus Class 11 Carnatic Percussion Syllabus As per Guidelines.
CBSE पाठ्यक्रम 11th Class Carnatic Percussion Syllabus As Per NCERT
सीबीएसई बोर्ड 11वीं सिलेबस 2024 | CBSE Syllabus 2024 2025 | CBSE Carnatic Percussion Syllabus for Class XI | CBSE Class 11 Carnatic Percussion Syllabus www.cbse.gov.in
CBSE Latest Syllabus for Class 11 Carnatic Percussion Syllabus is important for students to prepare their study time to time. Here we are provided New Edition CBSE Syllabus 2024. Stay tuned with Us for Get All Subjects Solution Biology MCQ, Physics MCQ, Difference between in Physics, Difference between in Biology
Exam Pattern for Year 2024 – 25
- Competency Focused Questions in the form of MCQs/ Case Based Questions, Source-based Integrated Questions or any other type = 40%
- Select response type questions(MCQ) = 20%
- Constructed response questions (Short Answer Questions/ Long Answer type Questions, as per existing pattern) = 40%
In case you have missed:- NCERT Solutions for Class 11
CBSE Class 11 Carnatic Percussion Syllabus 2024 2025
Theory
A. | History and Theory of Indian Music | No. of Periods |
1 (i) | An outline knowledge of following Lakshana Granthas with special reference to laya and percussion in Natya Sastra, Brihaddesi,Sangita, Sampradaya Pradarshini. | 4 |
(ii) | Short life sketch and contributions of the following: Patnam Subramany Iyer, and Syama Sastry, Tyagaraja. | 4 |
(iii) | Unique contribution of the following luminaries: Narayana Swamy Appa, Mamunidiya Pillai, Dakshinamurti Pillai and Alagunambi Pillai. | 5 |
II | Definition and explanation of the following: Nada, Laya, Tala, Jati, Gati, Suladi Sapta Talas, Karani, Vettu Thattu, Hechchu, Taggu, Mohra, Korvai, Meettu, Chapu and Arachapu. | 08 |
III | The candidates should be able to write in notation of the percussion korvais in Adi and Rupakatalas. | 07 |
IV | Knowledge of construction of the chosen playing percussion instrument. | 02 |
V | Basic knowledge of the construction and techniques of Mridangam. The candidate should also be able to describe the Kanjira, Tavil,and Ghatam. | 05 |
VI | Tattakarams (or Konnakkol) of the talas learnt. Excluding ChapuTala | 05 |
Total Periods | 40 |
Pactical
B. | Practical Activities | No. of Periods |
1 (i) | Ability to play the following talas with elaboration.Adi and Rupakam Talas covering atleast twoNadais. | 32 |
(ii) | Thekas and Mohras in different talas with Teermanam and Korvais. | 32 |
(iii) | Tuning of the instrument. | 04 |
II | Ability to render orally the sollukattus of the various patterns in Adi, Rupaka tala. | 32 |
Total | 100 |
CARNATIC Percussion INSTRUMENTAL)
i) i) An outline knowledge of following Lakshana Granthas with special reference to laya and percussion in Natya Sastra, Brihaddesi, Sangita, Sampradaya Pradarshini.
ii)Short life sketch and contributions of the following: PatnamSubramanyIyer, and Syama Sastry, Tyagaraja
iii)Unique contribution of the following luminaries: NarayanaSwamyAppa, Mamunidiya Pillai, Dakshinamurti Pillai and Alagunambi Pillai.
ii)Definition and explanation of the following: Nada, Laya, Tala, Jati, Gati, SuladiSaptaTalas, Karani, VettuThattu, Hechchu, Taggu, Mohra, Korvai, Meettu, Chapu and Arachapu.
iii)The candidates should be able to write in notation of the percussion korvais in Adi and Rupakatalas.
iv) Knowledge of construction of the chosen playing percussion instrument.
v)Basic knowledge of the construction and techniques of Mridangam.
The candidate should also be able to describe the Kanjira, Tavil, and Ghatam.
vi)Tattakarams (or Konnakkol) of the talas learnt. Excluding ChapuTala