CARNATIC PERCUSSION INSTRUMENTAL) MRIDANGAM (CODE NO.

033) CLASS–XI
(2021-22)
Term-I

Theory Marks -15

A History and Theory of Indian Music No.of

Periods
I. An outline knowledge of following Lakshana Granthas with special
reference to laya and percussion: Natya Sastra and Brihaddesi. 3
II. Short life sketch and contributions of the following:
Saint Tyagaraja, Muttuswami Dikshitar, and Shyama Shastry. 3
III. Unique contribution of the following luminaries:
Narayana Swami Appa and Mamundiya Pillai 3
Definition and explanation of the following: Nada, Shruti, Swara,
IV. Laya, Raga, Tala, Jati, Gati, Suladi Sapta Talas. 4
Basic knowledge of the construction and techniques of Mridangam.
V. The candidate should also be able to describe the Kanjira, Tavil and 4
Ghatam.

VI. Tattakarams (or Konnakkol) of the talas learnt. 3

Total Periods 20

CARNATIC MUSIC (PERCUSSION INSTRUMENT) (CODE NO:033) CLASS – XI (2021-22)

Term -I

Practical Marks – 25
B No. of
Periods
I. Ability to play Adi Tala elaborately covering at least two
Nadai. 10
II. Thekas and Mohras in Adi and Roopka talas with Teermanam
and Korvais. 15
III. Tuning of the instrument.
10
IV. Ability to render the Sollukattus of the various patterns in Adi
tala. 15

Total Periods 50
 Format of Examination (Practical)

1. Ability to play two Nadais in Adi tala. 6 marks

One of candidate’s choice & another of examiner’s

2. Questions based on Thekas, Mohra, Teermanam & Korvai 6 marks

3. Tuning of the instrumental for various Shrutis 5 marks

4. Viva voce based on the rendering of Tattakaram and Sollukkattus 8 marks

in Adi Tala.

Total Marks 25 marks

Internal Assessment – 10 Marks

Total – Theory + Practical + IA – 50 Marks

Term-II

Theory Marks -15

A History and Theory of Indian Music No.of
Periods
I.(i) An outline knowledge of following Lakshana Granthas with special
reference to laya and percussion in 3
Sangita Sampradaya Pradarshini.
(ii) Short life sketch and contributions of the following: Patnam
Subramanya Iyer and Poochi (Ramnad) Srinivasa Iyenger. 3
(iii) Unique contribution of the following luminaries: Dakshinamurti Pillai
and Azhagunambya Pillai. 3
II. Definition and explanation of the following: Karani, Vettu Thattu,
Hechchu, Taggu, Mohra, Korvai, Meettu, Chapu and Arachapu. 4
III. Basic knowledge of the construction and techniques of the Upa
pakka Vadyas like -Kanjira, Tavil, and Ghatam. 3
IV. The candidates should be able to write in notation of the percussion
korvais in Adi and Rupaka talas. 4

Total Periods 20
 CLASS–XI

Practical No. of Periods

B Practical Activities No. of Periods

I. Ability to play Roopaka tala elaborately covering at least two 10 periods

Nadais.

II. Thekas and Mohras in Mishra and khanta Chapu talas with 15 periods
Teermanam and Korvais.

III. Tuning of the instrument opted. 10 periods

IV. Ability to render orally the sollukattus of the various patterns in 15 periods
Rupaka tala.

Total 50 periods

Format of Examination (Practical)

1. Ability to play two Nadais in Roopaka tala. 6 marks

One, candidate’s choice & another of examiner’s

2. Questions based on Thekas, Mohras Teermanam & Korvai 6 marks

3. Tuning of the instrumental for various Sruthis 5 marks

4. Viva voce based on the rendering of Tattakaram and Sollukkattu in 8 marks

Roopaka tala.

Total Marks 25 marks

Internal Assessment: - 10 marks

Total Marks – Theory + Practical + IA: - 50 mark

 CARNATIC (PERCUSSION INSTRUMENTAL) MRIDANGAM (CODE NO. 033) CLASS–XII
(2021-22)
Term-I
Theory Marks -15

A History and Theory of Indian Music No. of

Periods
I.(i) An outline knowledge of following Lakshana Granthas with special
reference to laya and percussion: 3
Sangita Ratnakara and Swaramela Kalanidhi.
(ii) Short life sketch and contributions of the following luminaries: -
Needamangalam Meenakshi Sundaram Pillai, Tanjore Vaidya Natha 3
iyer and Palghat Mani Iyer.
(iii) Study of the musical forms: - Padam, Javali and Tillana
3
II. Definition and explanation of the following: Shadangas, Laya –
Vilamba-Madhya-Druta, Eduppu – Atita-Anagata, Arudi, and 4
Kalapramanam.
III. The candidates should have an outline knowledge of the classification
of Percussion instruments in general and a brief history of the 3
instrument opted for
IV. The candidates should possess knowledge of the fundamental
structure, techniques of playing other percussion instruments: - 4
Morsing, Chenta and Edakka.

Total Periods 20

Term -I
Practical Marks – 25
B Practical Activities No: of
Periods
I. Ability to play Mohra and Korvai to Some of the Sapta talas 10
II. An exhibition of accompanying ability 15
III. Demonstration of Pharan, Gatibheda, Anuloma -Pratiloma etc. 15
IV. Ability to play Tani Avartanam in Misra chapu tala 10
Total 50
Periods

Format of Examination
I Ability to play Mohra and Korvai in Some of the Sapta talas 6
evaluated.
II. Accompanying capability of the candidate to Vocal or Melodic
Instrument is evaluated 6
III. Ability to demonstrate Pharan, Gatibheda & Anuloma-Pratiloma 6
etc.
IV. Candidate’s ability to play Tani Avartanam is evaluated 7
Total Marks 25 Marks

Internal Assessments – 10 Marks

Total Marks – Theory + Practical + IA – 50 Marks
 Term-II

Theory Marks -15

A History and Theory of Indian Music No. of

Periods
I. An outline knowledge of following Lakshana Granthas with special
reference to laya and percussion: 4
Raga Vibodha and Chatur Danti Prakasika.
II Short life sketch and contributions of the following luminaries: -
Umayalpuram Kodandarama Iyer, Palani Subramania Pillai and 4
Vilwadri Iyer.
III Study of the musical forms: - Ragam-Tanam-Pallavi, and Sollukattu, 4
IV. Definition and explanation of the following: Aruti, Gatibheda,
anuloma – Pratiloma, pharan,Ghumki,Konnakol, Choru, Varu, and 4
Toppi.
V. The Candidate should possess the knowledge of the fundamental
structure and techniques of playing of other percussion instruments: 4
Pakhavaj, Tabla and Gettuvadyam.

Total Periods 20
 CLASS–XII Term -II

Practical Marks: 70

B. Practical Activities No of
periods

I. Ability to construct Mohra and Korvai to Khanda jati Ata talam. 15

II. An exhibition of accompanying ability 10

III. Demonstration of the various types and usages of Gumki. 10

IV. Ability to play Tani Avartanam in Khanda Chapu Talas . 15

50
Total Periods

C. Project Work Marks: 10

Guidelines:

Minimum four reports and maximum ten reports have to be submitted. Best four will be
considered for evaluation.

1. Must attend and report live concerts (both Vocal and Instrumental).
2. Details of the organization (i.e., notices informing the concert has to be included in
the project).
3. Items presented in order.
4. Details of each item presented (whether creative or Manodharma aspects included).
5. Audience response and duration of each item.
6. Details about the item in which Tani avartanam was played.
7. Photographs of the live concert. (If possible).

Note: In absence of live classical concerts, students can make report on Devotional
Bhajans, T.V. live shows, etc.
 CARNATIC MUSIC (PERCUSSION INSTRUMENTAL)
MRIDANGAM PRACTICAL
GUIDELINES TO THE EXAMINERS FOR EVALUATION OF PRACTICAL
CLASS–XII

Practical Max Marks:25

Duration: 30 to 45 minutes per candidate

General Instructions:

1. Just before starting the test, the students should be asked to submit a list of what
they have been taught from the course.
2. External Examiners are required to ask questions which are directly related to the
syllabus.
3. Marks should be given in accordance with the marking scheme.

Distribution of Marks:

S.No Value Points Marks

I. Taniavartanam of choice Tala 7

II. Accompanying techniques for Vocal Music and Instrumental Music 6

III. Accompanying techniques for Trikalam in pallavi singing 6

IV. Questions regarding laya and tala 6

Total 25
Project work 10
[

Note: External examiners have to be arranged for 50 marks of the practical examination.

Internal Assessment & Project work: 10 marks

Project Work Guidelines: Minimum four reports and maximum ten reports have to be
submitted. Best four will be considered for evaluation.
1. Must attend and report live concerts (both Vocal and Instrumental).

2. Details of the organization (i.e., notices informing the concert has to be included in the
project).

3. Presentation of items in order

4. Details of each item presented (whether creative or Manodharma aspects included).

5. Audience response and duration of each item.

6. Details about the item in which Tani avartanam was played.

7. Photographs of the live concert. (If possible)

Note: In absence of live classical concerts, students can make report on Devotional
Bhajans, T.V. live shows, etc.

Total Marks: 35

List of topics for the reference

1. The student should be asked to tune the instrument to a particular pitch. He/she may
be asked about the structure and parts of the instrument: problems faced in
maintaining the instrument in good condition during change of weather.

2. Choice Tala: The student should be asked to play full-fledged tani avartanam in a
tala of his/her choice.

3. Tala of Examiner’s choice: The student should be asked to play tani avartanam to
one or two talas of the examiner’s choice not necessarily the whole course of the
tani avartanam but only selected phrases.

4. The candidate may be asked to recite Mohra, Korvai, Tirmanam for different talas
learnt.

5. The candidate should be asked to accompany vocal music, instrumental music or

both. The music may be provided either by the examiners themselves or by an artist
specifically engaged for the purpose.

6. Questions like (a) differentiation between laya and tala, (b) various Angas of the
talas, (c) explanation of technical terms like Thekka, Pharan, Gumki, Meettu,
Chappu, etc.