CHSE Odisha Elective Indian Music study plan

Define and write from memory 25 core Sangeet Paribhasha terms (nada, shruti, swara, saptak, sthayi, aroha, avaroha, pakad, vadi, samvadi, anuvadi, vivadi, jati, grama, moorchhana, alankar, kan, meend, gamak, andolan, murki, vakra, varjya, nyas, apanyas) with one-line meanings in your own words.

Distinguish the three saptaks (mandra, madhya, tar) and place each of the 12 swaras (shuddha and vikrit) in the correct sthayi on a hand-drawn diagram.

Explain the difference between shruti and swara, and between vadi and samvadi, in two short paragraphs each.

Build a personal glossary table of 40 terms with columns for term, meaning, and one raga or tala example where it applies.

Map the 10 thats of Hindustani music (Bilawal, Khamaj, Kafi, Asavari, Bhairavi, Bhairav, Kalyan, Marwa, Poorvi, Todi) with their shuddha/vikrit swara patterns and one representative raga each.

Write aroha, avaroha, and pakad for 8 ragas across at least 4 different thats, using correct swara notation and vakra markings.

Classify each of those 8 ragas by jati (audav, shadav, sampurna combinations) and identify time of day (prahar) where the convention is settled.

Explain the gharana-independent rules for raga rendering: vadi-samvadi emphasis, nyas swaras, and how aroha/avaroha direction affects phrasing.

Solve 10 practice items asking you to spot an inconsistent aroha or avaroha and correct it.

Define the 10 common talas (Teentaal, Ektaal, Jhaptaal, Rupak, Dadra, Keherwa, Jhoomra, Deepchandi, Tilwada, Chautaal) with matra count, vibhag, tali, khali, and sam.

Write the theka in bol notation for 6 talas and mark tali (clap), khali (wave), and sam on each.

Compute laya relationships: identify dugun, tigun, and chaugun bol positions for Teentaal and Jhaptaal across a full avartan.

Explain the difference between sama, vishama, and atit-anagat laya with one worked example each.

Explain the structure of a tala in terms of avartan and how khali changes the phrase contour.

Trace the timeline of Indian music from Vedic samagana through Natyashastra, Brihaddeshi, Sangita Ratnakara, the medieval Persianate shift, and the modern institutional era, listing one source text or author per stage.

Explain the shift from grama-moorchhana system to the mela/thata system and why classification changed.

Compare Hindustani and Carnatic systems on at least five points: raga classification, tala naming, composition forms, and instrument conventions.

Define the remaining Domain 1 terms not yet covered, including grama, moorchhana, alpatva, bahutva, and the dasa-vidha gamak family.

Summarise the contributions of two musicologists from the historical survey in 120 words each, in your own words.

Write a 150-word profile for each of 8 figures (for example Tansen, Amir Khusrau, Pt. Vishnu Narayan Bhatkhande, Pt. Vishnu Digambar Paluskar, Tyagaraja, Muthuswami Dikshitar, Shyama Shastri, and one modern instrumentalist), covering era, school or tradition, and specific contribution.

Match each of those figures to a concrete artefact: a text, a notation system, a composition form, a gharana, or an institution.

Classify 20 instruments into the four-fold (tata, sushira, avanaddha, ghana) and the Western orchestral families, and note where the two systems do not align.

Identify instrument-specific terms such as jivari, chikari, palta, and bowing versus plucking technique for at least 6 instruments.

Explain why the Natyashastra classification is still used and where it is inadequate.

Write notation for two compositions (one khayal-style bandish, one lakshangeet or dhrupad-style piece) using a consistent swara and tala notation with bar lines, matra marks, and khali symbols.

Notate a 8-bar alap-like phrase and a 8-bar tala cycle so that another student could reproduce it without hearing you.

Perform a raga analysis of two ragas: identify thata, jati, vadi, samvadi, time, and the defining pakad phrase, and justify each answer.

Analyse a tala in applied context: show how a composition's bol placement aligns with sam and khali across one avartan.

Convert one notation between Bhatkhande-style and Paluskar-style conventions and note the differences.

Practise daily for 45 minutes on one prepared raga, covering alap-style unfolding, a bandish or composition, and a short taan or variation passage.

Record yourself twice this week and compare the two recordings against your notation for swara accuracy, tala alignment, and clarity of pakad.

Prepare a 10-minute viva answer set covering your chosen raga's theory, your instrument or voice type, and two questions on terminology.

Rehearse a tala demonstration: recite the theka and show tali/khali by hand for two talas at a steady laya.

Identify and fix your three weakest practical points from the recordings, with a written correction plan.

Run two full mock exams under time: 60 minutes of written theory (domains 1-7) and a 15-minute practical and viva simulation.

Re-quiz the glossary and raga/tala charts, targeting only items missed in earlier weeks.

Perform your prepared raga end to end twice, once for accuracy and once at performance tempo.

Answer 10 rapid-fire viva questions aloud in under 2 minutes each, covering terminology, raga identification, and instrument classification.

Review every deliverable from weeks 1-7 and fill any gap in the glossary, raga sheets, tala chart, timeline, or notation.