ICSE Class 10 Performing Arts Syllabus 2026-27
ICSE CLASS 10 — PERFORMING ARTS
Complete Study Guide 2026-27
Board: CISCE | Exam Year: 2028 | Theory: 100 Marks | Internal Assessment: 100 Marks
Exam Structure — All Performing Arts Subjects
Component | Marks |
Theory (Written Paper — 2 hours) | 100 |
Internal Assessment (Practical) | 100 |
TOTAL | 200 |
This document covers four Performing Arts subjects:
Section 1: Hindustani Music (Vocal, Instrumental, Tabla)
Section 2: Carnatic Music (92)
Section 3: Western Music (93)
Section 4: Indian Dance (94)
Section 5: Drama (95)
SECTION 1: HINDUSTANI MUSIC
The syllabus is divided into three sections:
Section A — Vocal Music
Section B — Instrumental Music (Excluding Tabla)
Section C — Tabla (Percussion)
SECTION A: HINDUSTANI VOCAL MUSIC
PART 1: THEORY — 100 Marks
1. (a) Non-detail terms: Sound (Dhwani), Meend, Kan (Sparshaswar), Gamak, Khatka, Tigun, Tappa, Thumri, Poorvang, Uttarang, Poorva Raga and Uttar Raga.
(b) Detailed topics: Nad, three qualities of Nad (volume, pitch, timbre); Shruti and placement of 12 swaras; Dhrupad and Dhamar; relationship between VadiSwar and time of singing raga.
2. Description of the 10 ragas of Classes IX and X mentioned under 'practical' — their Thaat, Jati, Vadi-Samvadi, Swaras (Varjit and Vikrit), Aroha-Avaroha, Pakad, time of raga and similar raga.
3. Writing in the Taal notation, all the 10 Taals learnt in Classes IX and X, their Dugun; Tigun and Chaugun.
4. Knowledge of musical notation system of Pt. V.N. Bhatkhande (swara and Taal-lipi); writing ChotaKhayal, BadaKhayal, Swarmalika and Lakshangeet.
5. Identification of Ragas of Classes IX and X (a few note combinations given).
6. Life and contribution in brief of Amir Khusro and Pt. Vishnu Digambar Paluskar.
7. A brief description of 4 eminent vocalists (present or recent past).
8. Names of different parts (components) of the Tanpura with the help of a simple sketch. Tuning and handling of the instrument.
PRACTICAL
1. Singing of three alankars in Teental, Jhaptaal and Dadra each.
2. Bhairav, Bhopaali, Desh, Bageshwari, Malkauns:
Singing of ChotaKhayal song in any three ragas as mentioned above (with alaaps and taans).
Lakshangeet and Swarmalika in the other two ragas.
One BadaKhayal in any one of the above-mentioned ragas (only sthai and antara).
Tarana (notation of Tarana is not required).
3. Padhant (Reciting) — Thekas of the following new taals as also those learnt in Class IX in Dugun and Chaugun, showing Tali, Khali and Matras on hands: Rupak, Jhaptaal, Tilwada, Dhamar and Deepchandi (Chanchar).
4. Identification of ragas learnt in Classes IX and X.
SECTION B: HINDUSTANI INSTRUMENTAL MUSIC (EXCLUDING TABLA)
PART 1: THEORY — 100 Marks
1. (a) Non-detail terms: Sound (Dhwani); Kan; Meend, Soot; Zamzama; Gamak; Baj; Khatka; Jhala; Tigun.
(b) Detailed topics: Nad; three qualities of Nad (volume, pitch, timbre); Shruti and placement of 12 swaras; Maseetkhani and Razakhani Gat; Relationship between VadiSwar and time of playing Raga.
2. Origin and the development of the instrument. Methods of handling instruments; tuning of the instrument with a labelled diagram.
3. Complete description of all the 10 ragas mentioned under 'Practical' in Classes IX and X.
4. Writing in the Tal notation, all the 10 Taals learnt in Classes IX and X, their Dugun; Tigun and Chaugun.
5. Writing in complete musical notation of the Maseetkhani and Razakhani Gats.
6. Identification of Ragas (a few note combinations given) of Classes IX and X.
7. Life and contribution in brief of Amir Khusro and Pt. Vishnu Digambar Paluskar.
8. Brief description of four eminent instrumentalists (present or recent past).
PRACTICAL
1. Playing of three alankars in Teental, Jhaptaal and Dadra each.
2. Bhairav, Bhopaali, Desh, Bageshwari, Malkauns:
Playing of five Razakhani Gat in all the above five mentioned Ragas.
One Maseetkhani Gat in any one of the five ragas as mentioned above (with alaaps, toda and jhala).
Dhun (notation of Dhun is not required).
3. Padhant (Reciting) — Thekas of the following new taals as also those learnt in Class IX in Dugun and Chaugun, showing Tali, Khali and Matras on hands: Rupak, Jhaptaal, Tilwada, Dhamar and Deepchandi (Chanchar).
4. Identification of ragas learnt in Classes IX and X.
SECTION C: HINDUSTANI INSTRUMENTAL MUSIC (PERCUSSION — TABLA)
PART 1: THEORY — 100 Marks
1. (a) Non-detail terms: Names of 10 Pranas, AadiLaya (Only in Dadra and Keharwa), Lehra (Nagma), Paran, Uthan, Chakkardar Tukda, Dumdar and Bedum Tihai, Gat, Padhant.
(b) Detailed topics: Origin and development of Tabla, Basic 10 Varnas (Syllables) of Tabla, Taal Jaati System, Solo and Sangat.
2. Brief description of four eminent percussionists (present or recent past).
3. Writing in Taal notation, Thekas, in Thah, Dugun, Tigun and Chaugun, of all Taals learnt in Class IX and X.
4. Names of different parts (components) of the Tabla with the help of a simple sketch. Tuning of the instrument.
5. Identification of Taals (a few bol combinations given) of Classes IX and X.
PRACTICAL
1. Technique of producing bols on Tabla like Tirkit, Kran, etc.
2. Development of following Taals:
Teental — 1 uthan, 2 new kaydas and its 4 paltas with tihai, 1 Rela, 1 Chakardaar Tukda, 1 Damdar and Bedam Tihai
Roopak — 1 Tihai
Sooltaal — 1 Tihai
Teevra Taal — 1 Paran
Deepchandi Taal
Tilwada Taal (only Theka)
3. Padhant (Reciting) — Thekas of all Taals of Class IX and X with development mentioned in para (2), giving Tali, Khali etc. by hands in Dugun and Chaugun.
4. Ability to accompany with vocalist and instrumentalist with development.
PART 2: INTERNAL ASSESSMENT — 100 Marks
Practical Work in Music (Hindustani)
To be assessed internally by the school.
Course Work
Candidates will be required to practise and perform singing or playing. This performance may be undertaken in connection with the topics suggested below. The practical work of candidates will be assessed by the teacher as course work. The teacher is free to assess the course work either on the basis of continuous assessment or on the basis of periodical tests.
Suggested topics for practical work: (i) Individual performances (ii) Practice for school functions (iii) Performance in a group of either players or singers, not necessarily in school (iv) Prepare a PowerPoint presentation on an eminent vocalist or instrumentalist (v) A visit to a sound recording studio
In addition to the course work the candidates will be tested in singing or playing one instrument by an External Examiner.
Assessment
The teacher and the External Examiner will assess the practice and performance of candidates. The following aspects of practice and performance should be taken into consideration: (i) Musical performance, Expression, Diction, Tonal quality, Breath control (ii) Accuracy (iii) Style and interpretation
The External Examiner may be a teacher nominated by the Head of the school, who could be from the faculty, but not teaching the subject in the section/class. For example, a teacher of Music of Class VIII may be deputed to be an External Examiner for Class X, Music Projects.
The Internal Examiner and the External Examiner will assess the assignments independently.
Evaluator | Marks |
Subject Teacher (Internal Examiner) | 50 marks |
External Examiner | 50 marks |
Total | 100 marks |
The total marks obtained out of 100 are to be sent to CISCE by the Head of the school via the CAREERS portal.
Internal Assessment Marking Criteria — Hindustani Music
Grade | Purity of Swar | Laya | Knowledge of Raga/Taal | Ability to Recall Practical and Theoretical Concepts | Overall Effect or Presentation | Marks |
I | Possesses an impeccable sense of pitch and note production is similarly perfect. | Has an accurate perception of rhythms, its speed and variations. Can build a solid foundation for musical variation. | Portrays the raga accurately and with appropriate feeling. Moves within the confines of the 'taal' structure. | Performance and presentation reveal a thorough knowledge of raga attributes and of the structure of the taal in general. | Inspired, error free presentation of melody and rhythm. Accurate conception of pitch, correct identification of raga and taal. | 8 marks for each criterion |
II | Has good total value but lacks note perfection or vice versa. | Can maintain an even tempo and is usually accurate in the use of 'layakari' or rhythmic variation. | Expresses great feeling but is less than faithful to the grammar of raga or taal. | Presents well but betrays lack of crucial theoretical inputs like "Nyas" in the improvisation. | Pleasing rendition of melodic and rhythmic forms, a good working knowledge of various degrees of pitch, different ragas etc. | 6 marks for each criterion |
III | Has a moderate sense of pitch with a satisfactory ability to project musical notes. | Is somewhat erratic in the maintenance of the taal's speed. However somehow strives to manage the laya. | Can only express the raga in the most limited pathways. Has difficulty knowing his/her position vis-a-vis the taal. | Diligent and keen but shows poor knowledge of concepts like 'alankara' and 'varna'. | Uninspiring, but adequate bookish presentation of course material. Erratic sense of pitch. Shaky knowledge of raga and taal. | 4 marks for each criterion |
IV | A bare semblance of musical quality in both tone and pitch concepts. Sometimes goes off scale. | Is unable to maintain an even 'laya' foundation. Consistently increases or decreases the speed and cannot perform even 'Dugun' in proper time. | The Raga is recognizable only as a vague idea. Is often out of rhythm and has little knowledge of the dynamics of taal. | Moderate presentation not backed by inner reference to VadiSamvadi or Tali, Khali of Raga and Taal. | Barely scrapes through the basic required idioms of melody and rhythmic cycle. Poor concept of pitch, taal, and raga. | 2 marks for each criterion |
V | Does not seem to have any concept of pitch. Rendition is off-key. | Has no idea of tune and its relationship to melody. Cannot maintain the rhythm of simple melodies. | Does not correctly maintain the basic elements of rag and taal. | Presentation is confused with poorly stated phrases, broken in pitch and rhythms. | Has no semblance to musical effect of any sort. Cannot keep a tune or maintain tempo. No concept of raga or taal. | 0 marks for each criterion |
Preparation Tips — Hindustani Music
Theory:
For each of the 10 ragas: memorise all eight descriptors — Thaat, Jati, Vadi, Samvadi, Varjit swaras, Vikrit swaras, Aroha-Avaroha, Pakad, time of raga, and similar raga
Non-detail terms: know the meaning of each — do not confuse Meend (glide between notes) with Kan (grace note touch)
For Pt. V.N. Bhatkhande notation: practise writing ChotaKhayal and BadaKhayal in correct notation format
Life and contributions of Amir Khusro and Pt. Vishnu Digambar Paluskar — learn at least five contributions each
Tanpura diagram: label all parts correctly — keep a diagram in your notes
Practical:
Practise Padhant of all taals with hands showing Tali, Khali and Matras — this is a common exam component
For Dugun and Chaugun: practise with a metronome to maintain accuracy
Raga identification: practise identifying ragas from note combinations regularly
FAQs — Hindustani Music
Q1. Is notation of Tarana required? No. The syllabus explicitly states: "Tarana (notation of Tarana is not required)."
Q2. Is notation of Dhun required (Instrumental)? No. The syllabus explicitly states: "Dhun (notation of Dhun is not required)."
Q3. For BadaKhayal, how much needs to be performed? Only sthai and antara — as explicitly stated in the syllabus.
Q4. How many ragas need to be described in theory? All 10 ragas of Classes IX and X mentioned under practical.
Q5. What is the marks split in the Internal Assessment? Subject Teacher: 50 marks, External Examiner: 50 marks. Total: 100 marks.
SECTION 2: CARNATIC MUSIC (92)
Class IX — Theory Topics (for reference)
The fundamental technical terms and their meanings.
Principle of Sa, Re, Ga, Ma notations — significance of symbols commonly used.
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.
Lakshanas of the following 16 ragas: Todi; Bhairavi; Kharaharapriya; Kalyani; Sankarabharanam; Shanmukhaypriya; Amavardhini; Chakravakam; Kambhoji; Anandabhairavi; Bilahari; Saveri; PoorviKalyani; Hindolam; Mohana; Hamsadhwani.
Manodharmasangita and its forms, Raga, Alapana paddhai — kalpanasvaras — Dasavidhagamakas.
The scheme of 35 talas — Chaputala and its varieties — Desadi and Madhayaditalas — Kriya — Anga — Laya — Gati — Matra (a detailed knowledge of any two) — Shadangas.
Musical forms and their classification — An advanced knowledge of the following musical forms: Gita, Tanavarna, Padavarna, Kriti, Ragamalika, Padam, and Javali.
PART 1: THEORY — 100 Marks (Class X)
1. History of Carnatic music with special reference to the following composers and theorists, including their biographies and their contribution to Carnatic music:
(1) Thyagaraja (2) Syama Sastry (3) Muthuswami Dikshitar (4) Jayadeva (5) Narayana Tirtha (6) Purandaradas (7) Bhadrachala Ramadas (8) Kshetrajna (9) Arunachala Kavirayar (10) Veena Kuppayyar (11) Patnam Subramaina Iyer (12) Gopal Krishna Bharati
2. Classification of musical instruments into string, wind and percussion group. A general knowledge of Vina, Violin, Gottuvadyam, Tambura, Flute and Mridangam — Training of human voice and compass of the concert instruments in South India.
3. Musical sound and voice — Pitch, intensity, and timbre — Sympathetic vibration — Resonance — Echoes — Musical intervals — Modal shift of tonic i.e. Grahabhedam.
PART 2: INTERNAL ASSESSMENT — 100 Marks
Practical Work in Music (Carnatic)
To be assessed internally by the school.
Course Work
Candidates will be required to practise and perform singing or playing one or more musical instruments such as Tabla, Violin, etc. This practical and performance may be undertaken in connection with the topics suggested below. The practical work of candidates will be assessed by the teacher as course work. The teacher is free to assess the course work either on the basis of continuous assessment or on the basis of periodical tests.
Suggested topics for practical work: (i) Individual performances (ii) Practice for school functions (iii) Performance in a group of either players or singers, not necessarily in school (iv) Making a musical instrument
In addition to the course work the candidates will be tested in singing or playing one instrument by an External Examiner. Where a candidate has chosen to make a musical instrument, the instrument may be put up for inspection by the External Examiner. Where a candidate has personally taken part in performance, tape recorded evidence may be submitted for the assessment by the External Examiner.
Assessment
The teacher and the External Examiner will assess the practice and performance of candidates. The following aspects of practice and performance should be taken into consideration: (i) Musical performance, Expression, Diction, Tonal quality, Breath control (ii) Accuracy (iii) Style and interpretation
The External Examiner may be a teacher nominated by the Head of the school, who could be from the faculty, but not teaching the subject in the section/class. For example, a teacher of Music of Class VIII may be deputed to be an External Examiner for Class X, Music Projects.
The Internal Examiner and the External Examiner will assess the assignments independently.
Evaluator | Marks |
Subject Teacher (Internal Examiner) | 50 marks |
External Examiner | 50 marks |
Total | 100 marks |
The total marks obtained out of 100 are to be sent to CISCE by the Head of the school via the CAREERS portal.
Internal Assessment Marking Criteria — Carnatic Music
Grade | Purity of Swar | Laya | Knowledge of Raga/Tala | Ability to Recall Practical and Theoretical Concepts | Overall Effect or Presentation | Marks |
I | Possesses an impeccable sense of pitch and note production is similarly perfect. | Has an accurate perception of rhythms, its speed and variations. Can build a solid foundation for musical variation. | Portrays the raga accurately and with appropriate feeling. Moves within the confines of the 'tal' structure. | Performance and presentation reveals a thorough knowledge of raga attributes and of the structure of the tala in general. | Inspired, error free presentation of melody and rhythm. Accurate conception of pitch, correct identification of raga and tala. | 8 marks for each criterion |
II | Has good total value but lacks note perfection or vice versa. | Can maintain an even tempo and is usually accurate in the use of 'layakari' or rhythmic variation. | Expresses great feeling but is less than faithful to the grammar of raga or tala. | Presents well but betrays lack of crucial theoretical inputs like "Nyas" in the improvisation. | Pleasing rendition of melodic and rhythmic forms, a good working knowledge of various degrees of pitch, different ragas etc. | 6 marks for each criterion |
III | Has a moderate sense of pitch with a satisfactory ability to project musical notes. | Is somewhat erratic in the maintenance of the taal's speed. However somehow strives to manage the laya. | Can only express the raga in the most limited pathways. Has difficulty knowing his/her position vis-a-vis the tal. | Diligent and keen but shows poor knowledge of concepts like 'alankara' and 'varna'. | Uninspiring, but adequate bookish presentation of course material. Erratic sense of pitch. Shaky knowledge of raga and tala. | 4 marks for each criterion |
IV | A bare semblance of musical quality in both tone and pitch concepts. Sometimes goes off scale. | Is unable to maintain an even 'laya' foundation. Consistently increases or decreases the speed and cannot perform even 'Dugun' in proper time. | The Raga is recognizable only as a vague idea. Is often out of rhythm and has little knowledge of the dynamics of tala. | Moderate presentation not backed by inner reference to VadiSamvadi or Tali, Khali of Raga and Tala. | Barely scrapes through the basic required idioms of melody and rhythmic cycle. Poor concept of pitch, tala, and raga. | 2 marks for each criterion |
V | Does not seem to have any concept of pitch. Rendition is off-key. | Has no idea of tune and its relationship to melody. Cannot maintain the rhythm of simple melodies. | Does not correctly maintain the basic elements of rag and taal. | Presentation is a hotchpotch of poorly stated phrases, broken in pitch and rhythms. | Has no semblance to musical effect of any sort. Cannot keep a tune or maintain tempo. No concept of raga or tala. | 0 marks for each criterion |
Preparation Tips — Carnatic Music
Theory (Class X specific):
For each of the 12 composers: know biography AND specific contribution — both are required
The Trinity of Carnatic music (Thyagaraja, Syama Sastry, Muthuswami Dikshitar) are highest priority — prepare detailed notes
Instrument classification: know which of Vina, Violin, Gottuvadyam, Tambura, Flute and Mridangam belongs to string, wind or percussion
Grahabhedam: understand the concept of modal shift of tonic — how the same scale produces different ragas by shifting the Sa
Know the three qualities of musical sound: pitch, intensity (volume) and timbre — and the concepts of sympathetic vibration, resonance and echoes
FAQs — Carnatic Music
Q1. How many composers must be known for Class X theory? Twelve composers are listed — biographies and contributions of all twelve are required.
Q2. What is Grahabhedam? Grahabhedam is the modal shift of tonic — when the tonic (Sa) is shifted to a different note within the same scale, producing a different raga. It is explicitly listed in the Class X theory syllabus.
Q3. Can tape recorded evidence be submitted for the External Examiner? Yes. The syllabus states: "Where a candidate has personally taken part in performance, tape recorded evidence may be submitted for the assessment by the External Examiner."
SECTION 3: WESTERN MUSIC (93)
Classes IX and X Theory: 100 Marks | Internal Assessment: 100 Marks
The syllabus is divided into two sections:
Section A — Musical Instruments
Section B — Forms and Analysis of Music
PART 1: THEORY — 100 Marks
Section A: Musical Instruments
1. Musical Instruments: Sound production and playing techniques of the following families:
(a) Keyboard family: Harpsichord, clavichord and acoustic pianoforte.
(b) Pipe Organ
(c) The String family: Violin, Viola, Violoncello, Double Bass.
(d) The Guitar family: Classical, Spanish, Hawaiian guitars.
(e) Woodwind family: Flute, Piccolo, Oboe, Clarinet, Cor Anglais, Bassoon, Saxophone.
(f) Brass Family: Trumpet, French Horn, Trombone, Tuba.
(g) Percussion family: Timpani (Kettle Drums), Bass Drum, Snare Drum, Tambourine, Tubular Bells, Xylophone, Glockenspiel.
Notes:
Candidates are expected to know the tuning notes and clefs of the following: The String family and The Guitar family. They will be expected to be able to write these on staff notation, beginning with the lowest in pitch. They are expected to know the range of any one woodwind and any one brass instrument of their choice.
Any TWO similarities and TWO differences between members of the same family, for example: oboe and clarinet; flute and piccolo; trombone and tuba, etc.
Section B: Forms and Analysis of Music
2. Forms of Music
(a) Symphony Definition, structure (form), Sonata Form; Analysis of any one symphony of the candidate's choice. (Format for analysis given at end of document.)
(b) Concerto Definition, structure (form); Analysis of any one Concerto (of the Classical or Romantic period) of the candidate's choice. (Format for analysis given at end of document.)
(c) Jazz Origin, characteristics, instrumentation, Genres of Jazz: New Orleans, Swing, Bebop.
(d) Popular Music Life, works, style and reasons for popular appeal of any solo artiste (vocal or instrumental) and/or band of the candidate's choice. Genres of music may include but are not limited to: Folk, Country, Gospel, Soul, Reggae, Pop, Rock, R&B, Hip Hop, Electronic Music.
3. Life and Works
(a) Life and works and unique contribution of the following composers: J.S Bach, G.F Handel, J. Haydn, W.A Mozart, L. van Beethoven, F. Schubert, P.I Tchaikovsky, J. Brahms, A. Dvorak.
(b) Life, works and style of the following exponents of Jazz: Louis Armstrong, Duke Ellington, George Gershwin, Miles Davis.
Note: Candidates are expected to write an essay of approximately 500 words on the life, works and contribution of the composer/s and/or exponents mentioned above.
4. Technology in Music
(a) Electronic Music Definition and scope of Electronic Music; description of the Theremin and the Moog Synthesizer.
(b) Basic knowledge of the following genres: Industrial, House Music, Drum and Bass, Dubstep, Electro House.
(c) DAW (Digital Audio Workstation) (i) Definition, basic features and applications of any one Home Studio DAW of the candidate's choice. (ii) Definition and usage in a DAW of the following: audio samples, loops, live audio, plug-ins and Timeline. (iii) Applications of DAWs in Electronic Music, DJ music and new directions in music.
5. Personal Experience Candidates should be able to write an essay (approximately 500 words) about their personal experiences as a musician in any one of the following areas: (a) As a solo singer or instrumentalist. (b) Member of the school choir or orchestra. (c) Part of a school Musical Theatre or any other production.
Note: The topics should be interpreted as widely as possible. Candidates should listen to a variety of music within the category title. In answering questions which require paragraph answers, candidates should refer knowledgeably and by name to the works to which they have listened. Questions will be framed so as to give all candidates a chance to show the following: (i) that they have heard works in a given category; (ii) that they know the characteristics of a particular category or kind of music; (iii) that they are aware of the context of a particular category or kind of music; (iv) that they know the names of prominent composers and their contribution to a particular category or kind of music.
PART 2: INTERNAL ASSESSMENT — 100 Marks
Practical Work in Music (Western)
Candidates for the examination in Music (Western) will be required to have passed the Practical Examination of the Associated Board of Royal School of Music, Grade 4, or a more advanced grade, or Grade 4 or a more advanced Grade of Trinity College, London, or Grade 4 or a more advanced grade of London College of Music (or an equivalent examination approved by CISCE).
Course Work
The practical work of candidates in Western Music in preparation for the practical examination of:
The Associated Board of Royal School of Music: Grade 4, or a more advanced grade, or
Trinity College, London: Grade 4 or a more advanced grade, or
London College of Music: Grade 4 or a more advanced grade (or an equivalent examination approved by CISCE)
will be taken as the requirement for course work in Western Music.
Final Test
The practical examination of the Associated Board of Royal School of Music, Grade 4, or a more advanced grade, or Grade 4 or a more advanced Grade of Trinity College, London, Grade 4 or a more advanced grade of London College of Music (or an equivalent examination approved by CISCE), will be taken in fulfillment of the final test for practical work in Western Music.
Assessment
The result of the practical examination issued by the Associated Board of Royal School of Music, Grade 4, or a more advanced grade, or Grade 4 or a more advanced grade of Trinity College, London, Grade 4 or a more advanced grade of London College of Music (or an equivalent examination approved by CISCE) will be taken as the assessment of Part 2 of Western Music.
Template for Analysis of Symphony
Name of the Symphony
Key
Composer
Instruments used
First movement: key, time signature, tempo direction. Exposition: both themes, closing theme/coda. Brief description of motifs, important modulations and melody/harmony/rhythm. Development: modulations and treatment of themes. Recapitulation: Keys used, second subject remains in tonic key, bridging passage, closing theme.
Second movement: key, time signature, tempo direction. Instrumentation used. Themes, motifs, all important points of harmony, melody and orchestration.
Third and Fourth movements (the symphony may have less than three or more than four movements) as given in the above movements.
All symphonic forms such as Sonata Form, Theme and Variations, Minuet and Trio, Scherzo, Sonata-Rondo, where applicable, must be described clearly.
Template for Analysis of Concerto
Definition, origin
Name of the Concerto
Key
Composer
Instruments and solo instruments used
First movement: key, time signature, tempo direction. Description of melodic and harmonic progression, key modulations, role of solo instrument, cadenza (if used), and Sonata Form (if used). Note: the cadenza format should be defined.
Second Movement: key, time signature, tempo direction. Description of melodic and harmonic progression, key modulations, role of solo instrument.
Third Movement: key, time signature, tempo direction. Description of melodic and harmonic progression, key modulations, role of solo instrument, cadenza (if used), and Sonata Form (if used).
Suggested Readings
The Encyclopedia of Music: Max Wade-Mathews and Wendy Thompson
The Enjoyment of Music: published by W.W. Norton and Co.
The History of Music; From the Cambridge assignments in Music: Roy Bennett
The Harvard Dictionary of Music: Don Michael Randel
The Oxford Dictionary of Music: Michael and Joyce Kennedy and Tim Rutherford-Johnson
Preparation Tips — Western Music
Section A — Instruments:
Know sound production and playing technique for every instrument listed — not just names
String family tuning notes: Double Bass (E,A,D,G), Cello (C,G,D,A), Viola (C,G,D,A), Violin (G,D,A,E) — lowest to highest
Guitar family: standard guitar tuned E,A,D,G,B,E
For similarities and differences within families: prepare at least two pairs for each family
Know which clef each String instrument uses: Violin uses treble clef; Viola uses alto clef; Cello and Double Bass use bass clef
Section B — Forms and Analysis:
Symphony analysis: use the template provided — do not omit any section
Learn Sonata Form thoroughly — Exposition, Development, Recapitulation — it underpins both Symphony and Concerto analysis
Jazz genres: New Orleans (earliest, collective improvisation), Swing (big bands, dance), Bebop (complex harmony, fast tempo) — know characteristics of each
Composers: for each of the nine composers, know era, key works, and unique contribution
DAW: know the definitions of audio samples, loops, live audio, plug-ins and Timeline precisely
Personal Experience essay: write a draft of approximately 500 words before the exam — practise this
FAQs — Western Music
Q1. What grade of practical examination is required for Internal Assessment? Grade 4 or a more advanced grade from any of: Associated Board of Royal School of Music (ABRSM), Trinity College London, or London College of Music, or an equivalent approved by CISCE.
Q2. How long should the Symphony and Concerto analysis essays be? The syllabus does not specify a word limit for analysis, but use the full template provided — omitting sections will lose marks.
Q3. How long should the composer essay be? Approximately 500 words, as explicitly stated in the syllabus note.
Q4. How long should the Personal Experience essay be? Approximately 500 words, as explicitly stated in the syllabus.
Q5. Must the Concerto be from a specific period? Yes — the syllabus specifies "of the Classical or Romantic period" for the Concerto analysis.
SECTION 4: INDIAN DANCE (94)
Classes IX and X Theory: 100 Marks | Internal Assessment: 100 Marks
Candidates will be required to select one dance style from the following: Bharatanatyam, Kathak, Odissi, Kuchipudi, Manipuri and Kathakali. The course work and assessment for the Internal Assessment shall focus solely on the dance style selected by the candidate. An overview of classical dance in India may be required, along with simple comparative studies between the different dance styles, for the written Theory paper.
PART 1: THEORY — 100 Marks
1. Identification of different classical dance styles in India. The aesthetic appeal of each, highlighting the distinctiveness of the individual styles, namely Bharatanatyam, Kathak, Odissi, Kuchipudi, Manipuri and Kathakali.
2. The mythological evolution of dance and an elementary understanding of important texts like the Natya Shastra, and story lines associated with classical dance in India. Also, an appreciation of the myths surrounding the lives of Ganesh, Krishna, Shiva, Vishnu, etc.
3. The sociological development of dance — its history, roots, growth and revival.
4. An understanding of the guru-shishya parampara (including the tradition and lineage associated with the chosen dance form only).
5. Prominent exponents of the various different classical dance styles listed above.
6. An understanding of the dance repertoire and musical accompaniment (for the chosen dance style only).
7. The relevance of dance in today's world and the modern developments in dance.
PART 2: INTERNAL ASSESSMENT — 100 Marks
Practical Work in Indian Dance
To be assessed internally by the school.
The practical section is divided into two parts: 1) Nritya and 2) Abhinaya
1. Nritya
(i) The basic body stances and positions, the neck and eye movements of the chosen dance style. (ii) A minimum of 15 steps in Nritya to be executed in the 3 speeds of slow, medium and fast. (iii) An understanding of the different rhythms (Tal) and the ability to perform a particular Tal in a passage of dance. (iv) Recitation of the Bols (syllables) and the ability to present the spoken syllables in dance. (v) Individual presentation of a short Nritya item.
2. Abhinaya
(i) Knowledge of the Asamyuta (single hand gestures) and Samyuta (double hand gestures) used in Abhinaya. (ii) The Deva Hastas (Brahma, Vishnu, Shiva, Krishna, Ganesh, etc.) with their attributes. (iii) The Dasavatar Hastas (gestures depicting the 10 avatars of Vishnu). (iv) A basic knowledge of the Nava Rasas (nine emotions) used in dance, namely:
Rasa | Meaning |
(a) Shringar | Love |
(b) Hasya | Mirth |
(c) Karuna | Compassion |
(d) Roudra | Anger |
(e) Veera | Strength |
(f) Bhayanaka | Fear |
(g) Bhibatsa | Disgust |
(h) Adbuta | Wonder |
(i) Shantam | Peace |
(v) Individual presentation of a short item of Abhinaya.
Assessment
The teacher and the External Examiner will assess the practice and performance of candidates.
The External Examiner may be a teacher nominated by the Head of the school, who could be from the faculty, but not teaching the subject in the section/class. For example, a teacher of Indian Dance of Class VIII may be deputed to be an External Examiner for Class X, Indian Dance Projects.
The Internal Examiner and the External Examiner will assess the assignments independently.
Evaluator | Marks |
Subject Teacher (Internal Examiner) | 50 marks |
External Examiner | 50 marks |
Total | 100 marks |
The total marks obtained out of 100 are to be sent to CISCE by the Head of the school via the CAREERS portal.
Internal Assessment Marking Criteria — Indian Dance
Grade | Regularity and Punctuality | Movements | Facial Expressions | Make-Up | Marks |
I | Participates regularly and is punctual. | Highly appropriate, highly graceful and highly natural. | Highly appropriate, highly graceful and highly natural. | Highly appropriate, highly eye-catching and highly natural. | 8 marks for each criterion |
II | Participates regularly but is not punctual. | Mostly appropriate, mostly graceful and mostly natural. | Mostly graceful, mostly appropriate, mostly natural. | Mostly appropriate, mostly eye-catching and mostly natural. | 6 marks for each criterion |
III | Participates very often but is neither regular nor punctual. | Partially appropriate, somewhat graceful and natural. | Partially and somewhat natural. | Partially appropriate, somewhat eye-catching and somewhat natural. | 4 marks for each criterion |
IV | Rarely participates. | Rarely appropriate and rarely graceful. | Rarely appropriate and rarely natural. | Mostly inappropriate, does not catch the eye and mostly unnatural. | 2 marks for each criterion |
V | Never participates. | Inappropriate, artificial and lacks grace. | Inappropriate and unnatural. | Inappropriate, not at all eye-catching and unnatural. | 0 marks for each criterion |
Preparation Tips — Indian Dance
Theory:
Know all six dance styles — Bharatanatyam, Kathak, Odissi, Kuchipudi, Manipuri and Kathakali — their distinctive characteristics, origin states, and prominent exponents
Natya Shastra: know its author (Bharata Muni) and its significance as the foundational text of Indian classical dance and drama
Guru-shishya parampara: know the lineage/gharana specifically for your chosen dance style — this is explicitly specified
Repertoire and musical accompaniment: know only for your chosen dance style — the syllabus makes this clear
Nava Rasas: all nine must be known with both Sanskrit name and English meaning
Practical:
Nritya: practise all 15 minimum steps in all three speeds — examiners will test execution across speeds
Abhinaya: know both Asamyuta (single hand) and Samyuta (double hand) gestures precisely
Dasavatar Hastas: all 10 avatars of Vishnu with their specific hand gestures
Regularity and Punctuality is a separately scored criterion — attendance at practice sessions matters
FAQs — Indian Dance
Q1. Can a candidate study more than one dance style for internal assessment? No. The syllabus states: "The course work and assessment for the Internal Assessment shall focus solely on the dance style selected by the candidate."
Q2. Is guru-shishya parampara required for all six dance styles? No. The syllabus specifies: "including the tradition and lineage associated with the chosen dance form only."
Q3. How many Nritya steps are required at minimum? A minimum of 15 steps in Nritya, to be executed in all three speeds: slow, medium and fast.
Q4. How many Nava Rasas are there and what are they? Nine — Shringar (love), Hasya (mirth), Karuna (compassion), Roudra (anger), Veera (strength), Bhayanaka (fear), Bhibatsa (disgust), Adbuta (wonder), Shantam (peace).
SECTION 5: DRAMA (95)
Classes IX and X Theory: 100 Marks | Internal Assessment: 100 Marks
The syllabus is divided into two sections:
Section A — Drama as Art
Section B — Technical Aspects of Drama
Note on Theory Paper: Candidates will be required to evaluate and analyse material as part of a drama process. Resource material would be provided in each question in the form of extracted pieces from plays, themes, situations or pictures. The resource materials are expected to form stimuli that would be used by candidates to answer the question. Answers can be in the form of a written commentary and may be accompanied by sketches, diagrams and notes as required. Candidates would be permitted to creatively add dialogue to the prompt provided for each question.
PART 1: THEORY — 100 Marks
Section A: Drama as Art
Candidates will be expected to have an appreciation of the following elements:
1. Use of people, space and conflict in drama. (a) Brief history of Greek theatre, festivals, playwrights. (b) Brief on Dramatic Structure, Freytag's Pyramid, Aristotle.
2. The function of the director. Types of Directorial styles.
3. The actor — basic techniques of acting: (a) Body, voice, role. (b) Brief on Method Acting. (c) Principles of Movement for actors.
4. Movement and approaches: (a) Body positions. (b) Stage Directions: 9 zones. (c) Blocking. (d) Turns and gestures. (e) Entries and Exits.
5. The stage: (a) Various parts on and off stage: Greenrooms, Cyclorama, Wings, FOH, Curtains, flats, battons, teasers. (b) Sightlines, the 'point of power'. (c) Types of staging: Proscenium, Thrust, Central, Traverse, Black box, Site Specific, Promenade.
6. Indian folk theatre: The Natyashastra, Nautanki, Kathakali, Yakshagana, Ramlila, Jatra, Tamaasha, Bhaona.
7. Puppetry: Types — Hand, Glove, Bunraku, Marionette, Togalu Gombayaata, Katputli.
8. Street Theatre: Brief history, Indian context, creative application.
9. Children's Theatre: Brief history, creative application.
10. Composition in Theatre: Relation to blocking, devices, application.
11. Picturisation in Theatre: Purpose, objective, mood, application.
12. Rhythm: Internal, External, Speech application for actors.
13. Dramatisation: definition, purpose.
14. Literature: Summary, characters, and conflict in:
Caucasian Chalk Circle (by Berthold Brecht)
Antigone (by Sophocles)
Julius Caesar (by William Shakespeare) may be used for applicatory assessment of theatre elements.
Section B: Technical Aspects of Drama
Candidates will be expected to have working knowledge of the technical skills used by directors, actors, and designers (sets, costumes, make-up, lighting and sound). Questions will be set using resource material as a basis for technical design — candidates will be permitted to use sketches, notes and diagrams as part of their answers.
Candidates will be expected to have an appreciation of the following elements:
1. Use of the stage: Application of theatre elements: (a) Set design: role of a set designer, stage balance. (b) Blocking, Creative applications of body positions and stage directions.
2. The production process: (a) Scripting. (b) Auditions and Casting. (c) Rehearsals: Types. (d) Technical aspects: costumes, sound, lights, set design, LED walls or projection systems.
3. Sets: Including parts of stage equipment used in a set, Furniture and props, special effects apparatus.
4. Properties: Types of props, application.
5. Lighting: (a) Types of lighting lanterns (include modern programmable LED lights). (b) Relation between lighting and mood. (c) Purpose of lighting: Illumination, Sculptural, Selective, Atmospheric, Fluid. (d) Role of a lighting designer. (e) Stage Rigging for lights, Consoles.
6. Sound: (a) Types of basic sound equipment and usage. (b) Influence of music in theatre: (i) Sound reinforcement, equipment. (ii) Establishing settings, Spot effects, Transitional Sound, Atmospheric effects. (iii) Incidental music, Overture, Framing effect. (iv) Role of a sound designer.
7. Costumes: (a) Period costumes, brief history of Elizabethan and Victorian costumes. (b) Importance of costumes. (c) Role of Costume designer.
8. Make-up: (a) Uses. (b) Types of make-up (including design).
9. Stage management: (a) Functions of a Stage manager. (b) Prompt book or working script.
PART 2: INTERNAL ASSESSMENT — 100 Marks
Practical Work in Drama
To be assessed internally by the school.
The practical section is divided into two parts — Acting and Stagecraft. Candidates may choose either ONE for their practical assessment.
Acting
Candidates will be required to practise and perform as actors. This practical and performance may be undertaken either as acting an original piece or acting a piece/extract from a play, book or film. The practical work of candidates will be assessed by the teacher and by an External Examiner. The teacher is free to assess the course work either on the basis of continuous assessment or on the basis of periodical tests. Where a candidate has personally taken part in performance, video recorded evidence and reviews may be submitted for the assessment by the External Examiner.
Stagecraft
Candidates will be required to create a stagecraft model based on a scene from a play, book or film. Candidates will be tested in one or more elements of the stagecraft model, by the teacher and by an External Examiner. Photographs, designs and video tapes may be submitted for the assessment by the External Examiner where the candidate has prepared a design for a performance.
Assessment
The teacher and the External Examiner will assess the practice and performance of candidates.
The External Examiner may be a teacher nominated by the Head of the school, who could be from the faculty, but not teaching the subject in the section/class. For example, a teacher of Drama of Class VIII may be deputed to be an External Examiner for Class X Drama Projects.
The Internal Examiner and the External Examiner will assess the assignments independently.
Evaluator | Marks |
Subject Teacher (Internal Examiner) | 50 marks |
External Examiner | 50 marks |
Total | 100 marks |
The total marks obtained out of 100 are to be sent to CISCE by the Principal of the school. The Head of the school will be responsible for the online entry of marks on CISCE's CAREERS portal by the due date.
Internal Assessment Marking Criteria — Drama
Grade | Regularity and Punctuality | Make-Up | Acting | Dialogue | Emotional Appeal | Marks |
I | Participates regularly and is punctual. | Highly appropriate, highly eye-catching and highly natural. | Highly graceful, highly eye-catching, highly natural. | Highly correct, very distinct, highly effective. | Highly adequate intensity, highly appropriate to the occasion. | 8 marks for each criterion |
II | Participates regularly but is not punctual. | Mostly appropriate, mostly eye-catching and mostly natural. | Mostly graceful, mostly appropriate, mostly natural. | Mostly correct, mostly distinct, mostly effective. | Mostly adequate intensity, mostly appropriate to the occasion and role. | 6 marks for each criterion |
III | Participates very often but is neither regular nor punctual. | Appropriate, eye catching, somewhat natural. | Partially graceful, mostly appropriate, mostly natural. | Partially correct, partially distinct, partially effective. | Partially adequate intensity and rarely appropriate to the occasion and role. | 4 marks for each criterion |
IV | Rarely participates. | Partially appropriate and partially eye-catching. | Needs frequent guidance. Rarely appropriate, rarely distinct, rarely effective. | Rarely appropriate, rarely distinct, rarely effective. | Rarely adequate intensity and rarely appropriate to the occasion and role. | 2 marks for each criterion |
V | Never participates. | Inappropriate, not eye-catching and unnatural. | Inappropriate and unnatural. | Inappropriate, distinct, and ineffective. | Inadequate intensity and inappropriate to the occasion and role. | 0 marks for each criterion |
Preparation Tips — Drama
Section A — Drama as Art:
Freytag's Pyramid: know all five stages — Exposition, Rising Action, Climax, Falling Action, Denouement
Stage Directions: know all 9 zones — Upstage Right, Upstage Centre, Upstage Left, Centre Right, Centre Stage, Centre Left, Downstage Right, Downstage Centre, Downstage Left
Types of staging: know the difference between all seven — Proscenium (most common, audience on one side), Thrust (stage extends into audience), Central/In-the-round (audience all around), Traverse (audience on two sides), Black box (flexible), Site Specific (non-theatre location), Promenade (audience moves with performance)
Indian folk theatre: know all eight forms listed — origin state/region and key characteristics
Literature: read and know plot, characters and conflict of both Caucasian Chalk Circle and Antigone thoroughly. Julius Caesar is for application only.
Method Acting: know Stanislavski's system briefly — emotional memory, given circumstances, magic 'if'
Section B — Technical Aspects:
Lighting purposes: Illumination, Sculptural, Selective, Atmospheric, Fluid — know what each means and when used
Sound functions: know all four types of sound use in theatre — sound reinforcement, Spot effects, Atmospheric effects, Transitional sound
Elizabethan and Victorian costumes: know key characteristics of each period briefly
Stage Manager functions: know the prompt book/working script concept
Practical:
If choosing Acting: practise with a clear objective, character motivation, and physical expression
If choosing Stagecraft: document your model with photographs and be ready to explain every design decision
Regularity and Punctuality is a separately scored criterion — attend every session
FAQs — Drama
Q1. Can a candidate do both Acting and Stagecraft for internal assessment? No. The syllabus states: "Candidates may choose either ONE for their practical assessment."
Q2. Can video evidence be submitted to the External Examiner? Yes — for Acting: video recorded evidence and reviews may be submitted. For Stagecraft: photographs, designs and video tapes may be submitted.
Q3. Are sketches and diagrams allowed in the theory paper? Yes. The syllabus explicitly states: "Answers can be in the form of a written commentary and may be accompanied by sketches, diagrams and notes as required."
Q4. Is Julius Caesar a prescribed text for examination? It may be used for applicatory assessment of theatre elements — it is not a full prescribed text like Caucasian Chalk Circle and Antigone. Summary, characters and conflict of Julius Caesar are not required in the same way.
Q5. What are the five purposes of lighting? Illumination, Sculptural, Selective, Atmospheric, Fluid — all five are listed in the syllabus.
Q6. Who does the Drama marks go to — the Principal or the Head of School? The syllabus states: "The total marks obtained out of 100 are to be sent to CISCE by the Principal of the school." Note this is the only subject in this guide that specifies the Principal rather than the Head of School for submission.
All content above is based directly on the official CISCE ICSE Performing Arts Syllabus, Examination Year 2028. Verify with the latest document at cisce.org.
ICSE Class 10 Syllabus |
