ICSE Class 9 Performing Arts Syllabus 2026-27

Performing Arts is an elective subject (Subject Code 54) offered under Group III of the ICSE Class 9 curriculum. It is one of the most enriching options available to students, covering five distinct art forms: Hindustani Music, Western Music, Carnatic Music, Indian Dance, and Drama. Students choose one art form and study it in depth through both a written theory paper and school-based practical work.

The subject carries 200 marks in total: 100 marks for the theory paper and 100 marks for internal assessment. The Class IX examination is conducted by the school; the Class X ICSE Board examination covers the full combined Class IX and X syllabus.

Exam at a Glance

Five Syllabi — Choose One

The Performing Arts paper is divided into sections based on the chosen art form. The table below shows how the theory paper is structured for each option.

Syllabus (A): Hindustani Music — Key Topics

The Hindustani Music theory paper has three sections. Students opt for Vocal Music, Instrumental Music (excluding Tabla), or Tabla. The attempt pattern is: 2 questions from Section A (Vocal) + 3 from either Section B (Instrumental) or Section C (Tabla).

Section A: Vocal Music

•       Non-detail Terms: Sangeet, Naad, Saptak, Thaat, Alankar, Raga, Janak/Janya/Ashraya Raga, Vadi-Samvadi-Anuvadi-Vivadi, Aroha-Avaroha-Pakad, Chal/Achal Swaras, Sthayi-Antara, Taan-Alaap, Matra-Vibhag-Taal-Avartan-Sam-Tali-Khali-Theka, Thah/Dugun/Chaugun

•       Detailed Topics: Shuddha and Vikrit Swaras; Jati (Odava, Shadava, Sampoorna); Laya (Vilambit, Madhya, Drut); Varna (Sthai, Arohi, Avarohi, Sanchari); Forms of Geet — Swaramalika, Lakshangeet, Khayal (Bada and Chota), Dhrupad

•       Five Prescribed Ragas: Thaat, Jati, Vadi, Samvadi, Varjit/Vikrit swaras, Aroha-Avaroha, Pakad, time of raga, similar ragas (specific ragas announced by CISCE each session)

•       Five Prescribed Taals: Matras, Vibhag, Sam/Tali/Khali; Theka written in Thah and Dugun notation (e.g. Teentaal, Ektaal, Jhaptaal, Rupak, Keherwa, Dadra)

•       Bhatkhande Notation: Writing compositions (Chota Khayal, Swarmalika, Lakshangeet, Dhrupad) in Swara-lipi and Taal-lipi

•       Raga Identification from a given short Swara-vistar

•       Life and Contribution: Mian Tansen (c.1500-1586) — legendary court musician of Akbar; Pt. V.N. Bhatkhande (1860-1936) — ten-Thaat system, Bhatkhande notation, Hindustani Sangeet Paddhati

Section B: Instrumental Music (Excluding Tabla)

•       All topics as in Section A, plus Toda (climactic melodic phrase)

•       Forms of Gat: Maseetkhani Gat (slow, Vilambit Laya) and Razakhani Gat (fast, Drut Laya)

•       Writing a Razakhani Gat with bols in Bhatkhande notation

Section C: Tabla

•       Non-detail Terms: Matra, Taal, Vibhag, Sam, Tali, Khali, Avartan, Theka, Kayada, Palta, Tihai, Mohra, Mukhada, Tukda, Kismen, Peshkara

•       Layakari: Thah (1x), Dugun (2x), Tigun (3x), Chaugun (4x)

•       Origin and development of Tabla: Two drums (Tabla/Dayan and Bayan); six major Gharanas (Delhi, Ajrada, Lucknow, Farukhabad, Benaras, Punjab)

•       Six prescribed taals: Writing Theka in Taal-notation with Thah, Dugun, and Tigun; simple Palta development

Syllabus (B): Western Music — Key Topics

Section A: Theory and History

•       Music Theory: Staff notation (treble and bass clef); note values and rests; time signatures (simple and compound); major and minor scales; intervals; key signatures (up to 4 sharps/flats); chords; dynamics and tempo markings

•       Baroque (c.1600-1750): Fugue, concerto grosso, suite, oratorio — J.S. Bach (Brandenburg Concertos, St Matthew Passion); G.F. Handel (Messiah, Water Music)

•       Classical (c.1750-1820): Sonata form, symphony, opera — Haydn (father of the symphony); Mozart (Don Giovanni, Symphony No.40); Beethoven (9 symphonies, Moonlight Sonata)

•       Romantic (c.1820-1900): Programme music, nationalism — Schubert (lieder); Tchaikovsky (Swan Lake, 1812 Overture); Dvorak (New World Symphony)

•       20th Century and Contemporary: Atonality, impressionism; Jazz (Duke Ellington, Louis Armstrong, Miles Davis, Gershwin); Rock (Elvis, The Beatles); R&B, Hip Hop, Electronic, DJ culture

•       Musical Forms: Sonata form (exposition, development, recapitulation); symphony (four movements); concerto (three movements, cadenza); opera (libretto, aria, recitative)

Section B: Instruments and Applied Knowledge

•       Classification: String (chordophones), Woodwind and Brass (aerophones), Percussion (membranophones and idiophones)

•       Instruments by family: Violin/Viola/Cello/Double Bass/Guitar/Harp; Flute/Clarinet/Oboe/Bassoon/Saxophone; Trumpet/Horn/Trombone/Tuba; Piano/Organ/Harpsichord; Xylophone/Timpani/Drums/Cymbals

•       The Orchestra: Four sections; seating arrangement; role of the conductor

•       Electronic Music: Synthesiser, MIDI; Dubstep, Electro House; DJ music and new directions

Syllabus (C): Carnatic Music — Key Topics

Section A: Theory and History

•       Core concepts: Swara (16 Swarasthanas); Melakarta Raga system (72 parent ragas); Janya ragas; seven Suladi Talas with Angas (Laghu, Drutam, Anudrutam); Adi Tala (8 beats)

•       Purandaradasa (c.1484-1564): 'Father of Carnatic Music'; Sarali Varisai exercises; thousands of Devaranamas

•       The Trinity: Tyagaraja (kritis; Pancharatna Kritis), Muthuswami Dikshitar (Sanskrit compositions; rare ragas; Kamalamba Navavarana Kritis), Syama Sastri (Swarajatis; Navaratnamali)

•       Swati Tirunal (1813-1846): composer-king of Travancore; Kirtanas, Varnas, Padams

Section B: Ragas, Talas, and Compositions

•       Five prescribed ragas: Melakarta/Janya classification; Arohanam/Avarohanam; characteristic phrases; similar ragas (e.g. Mayamalavagowla, Shankarabharanam, Kalyani, Bhairavi, Kambhoji, Mohanam, Hamsadhwani)

•       Vocal forms: Geetam, Swarajati, Varna, Kriti (Pallavi-Anupallavi-Charanam), Padam, Javali, Ragamalika

Syllabus (D): Indian Dance — Key Topics

Section A: Theory and Classical Forms

•       Foundations: Nritta (pure dance), Nritya (expressive), Natya (drama); Natyashastra by Bharata Muni; nine Navarasa; four aspects of Abhinaya (Angika, Vachika, Aharya, Sattvika); Asamyuta and Samyuta Hasta Mudras

•       Eight Classical Dance Forms:

◦       Bharatanatyam (Tamil Nadu): Devadasi tradition; Adavus; Margam sequence (Alarippu to Tillana); revival by Rukmini Devi Arundale

◦       Kathak (North India): Kathakar tradition; Lucknow and Jaipur Gharanas; Tatkar (footwork), Chakkar (spins), Thumri

◦       Odissi (Odisha): Mahari/Gotipua traditions; Tribhanga posture; Guru Kelucharan Mohapatra

◦       Manipuri (Manipur): Lai Haraoba; Ras Lila; Pung drum; gentle, lyrical style

◦       Kathakali (Kerala): stylised facial expressions; elaborate Vesham make-up types; Mahabharata/Ramayana stories

◦       Kuchipudi (Andhra Pradesh): Yakshagana tradition; Tarangam (balancing on brass plate); Bhama Kalapam

◦       Mohiniyattam (Kerala): Lasya style; graceful, swaying movements; associated with Vishnu as Mohini

◦       Sattriya (Assam): Vaishnavite Sattras; Srimanta Sankaradeva (15th century); Ankiya Nat; recognised as classical in 2000

•       Folk Dance Survey: Bhangra/Giddha (Punjab), Garba/Dandiya (Gujarat), Bihu (Assam), Lavani (Maharashtra), Chhau, Yakshagana, Theyyam

Section B: Applied Dance Knowledge

•       Practical knowledge of the chosen classical form; comparative study of two forms; costume and make-up; music and talas; prominent dancers

Syllabus (E): Drama — Key Topics

Section A: Theory and History

•       Elements of Drama: Stage types (proscenium, thrust, in-the-round, traverse, promenade); stage areas; actor's body/voice/character; personal/hand props; technical theatre (set, costume, make-up, lighting, sound)

•       Indian Theatre Traditions: Sanskrit theatre and Natyashastra (ten Rupaka types; Kalidasa, Sudraka); Kutiyattam (UNESCO heritage); folk forms (Jatra, Nautanki, Tamasha, Yakshagana, Bhavai, Ankiya Nat, Swang); modern Indian theatre (Tagore, Girish Karnad, Vijay Tendulkar, Badal Sircar, Habib Tanvir)

•       Western Theatre: Greek theatre (Aeschylus, Sophocles, Euripides, Aristophanes); Elizabethan/Globe/Shakespeare (Hamlet, Macbeth, Othello, A Midsummer Night's Dream); Realism (Ibsen, Chekhov); Brecht (alienation effect, Epic Theatre); Theatre of the Absurd (Beckett, Ionesco)

•       Acting Methods: Stanislavski's System (given circumstances, magic 'if', emotional memory, objectives); Method Acting (Lee Strasberg); Michael Chekhov

Section B: Applied Drama

•       Script analysis (dramatic structure, subtext, dramatic irony); directing (blocking, staging); mime and physical theatre (Lecoq, Viewpoints); improvisation techniques (status games, hot seating, tableau); writing theatre reviews

Internal Assessment (100 Marks)

Internal assessment is fully school-based and focuses on the student's performance in their chosen art form. A minimum of five practical assignments are required for Class IX. The Subject Teacher (50 marks) and an External Examiner appointed by the Head of School (50 marks) assess independently.

Quick Preparation Tips

•       Hindustani/Carnatic Music: Prepare a revision table for each prescribed raga (all required details in one place). Practise writing taals in Thah and Dugun notation. Know the life and contributions of key musicians in full.

•       Western Music: Be thorough with staff notation, time signatures, and key signatures. For each period, know at least three composers and their major works. Know all orchestral instrument families by name.

•       Indian Dance: Learn all eight classical forms and be ready to compare any two. Know the Navarasa, four aspects of Abhinaya, and the names of major Hasta Mudras.

•       Drama: Learn all stage types and stage areas. For Section B (applied drama), practise describing how you would stage a scene — staging choices, acting techniques, and technical elements.

•       Internal Assessment: Practise your chosen art form regularly throughout the year. For music, work on both pitch accuracy (Sur) and rhythmic stability (Laya). For dance, develop Nritta and Abhinaya equally. For drama, keep a production diary.

•       Past papers: Solve previous ICSE Performing Arts question papers for your chosen syllabus to understand the question format, depth expected, and time management.