ICSE Class 9 Performing Arts syllabus for the latest academic year, 2026-27, is available to check on the official board website. The syllabus contains an outline of the latest curriculum, including course structure, syllabus content, and other exam details. Performing Arts is an elective paper and is divided into five key arts; Hindustani Music (91), Carnatic Music (92), Western Music (93), Indian Dance (94) and Drama (95). Students have to select one among the five elements of the art forms. Each parts carries separate theory and practical components, which will be assessed individually for the board exam.
Students can find a detailed outline of the syllabus along with exam details to help with board preparation. Teachers can also utilize the latest syllabus shared here to plan the academic session. Students can also access the ICSE class 9 Performing Arts syllabus PDF from the link shared below.
ICSE Class 9 2026-27: Key Highlights
ICSE Class 9 is conducted around February-March; till then, students can go through the syllabus provided to understand the key elements of the curriculum. Check out the Class 9 exam and official website details shared in the table below:
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Particulars
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Description
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Conducting Body
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Council for the Indian School Certificate Examinations
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Academic Session
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2026-27
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Official Website
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cisce.org
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Board Exam
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Conducted in February-March for Class 9.
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Exam Paper Duration
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2 Hours
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Total Marks
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80 Marks for Theory and 20 for Internal Assessment (100 Marks)
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Subject
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Elective: Performing Arts (91-95) Subject Code 54
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ICSE Class 9 Performing Arts Syllabus 2026-27: Aims
As per the board here are the allotted aims and objects for the Class 9 Performing Arts subject:
1. To develop a perceptive, sensitive and critical response to music, dance and drama in its historical and cultural contexts.
2. To stimulate and develop an appreciation and enjoyment of music, dance and drama through active involvement.
3. To balance the demands of disciplined skills and challenging standards in an environment of emotional, aesthetic, imaginative and creative development.
4. To develop performing skills, and so encourage a participation in the wide range of performance activities likely to be found in the school and community.
5. To develop a co-operative attitude through the organisation and participation associated with music, dance and drama.
6. To provide an appropriate body of knowledge with understanding, and to develop appropriate skills as a basis for further study or leisure or both.
One of the following five syllabuses may be offered:
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Hindustani Music (91)
Carnatic Music (92)
Western Music (93)
Indian Dance (94)
Drama (95)
ICSE Class 9 Performing Arts Syllabus 2026-27: Download PDF
The ICSE Class 9 Performing Arts paper will be two hours long, and the paper will be of 100 marks and Internal Assessment of 100 marks. Check out the detailed syllabus, along with a PDF download link shared below:
The syllabus is divided into three sections:
Section A - Vocal Music
Section B - Instrumental Music
Section C - Tabla
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Content
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Description
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PART 1: THEORY – 100 Marks
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SECTION A: HINDUSTANI VOCAL MUSIC
1. (a) Non-detail terms: Sangeet; two main systems of Indian Music; Naad, Saptak; Thaat; Alankar; Raga, Janak-Janya Ragas and Ashraya raga; Vadi, Samvadi, Anuvadi, Vivadi; Aroha, Avaroha, Pakad; Chal and
AchalSwara. Sthayi, Antara; Taan, Alaap; Matra, Vibhag, Taal, Avartan, Sam, Tali, Khali, Theka; Thah (Barabar or Ekgun), Dugun, Chaugun.
(b) Detailed topics: Swara (Shuddha and VikritSwars), Jati (Odava, Shadava, Sampoorna), Laya (Vilambit, Madhya, Drut), Varna (Sthai, Arohi, Avarohi, Sanchari), Forms of Geet – Swaramalika, Lakshangeet, Khayal (BadaKhayal and ChotaKhayal), Dhrupad.
2. Description of the five ragas mentioned under ‘practical’ – their Thaat, Jati, Vadi-Samvadi, Swaras (Varjit and Vikrit), Aroha-Avaroha, Pakad, time of raga and similar raga.
3. Description of the five taals mentioned under
‘practical’; writing them in Thah and DugunTaal notation.
4. Knowledge of musical notation system of Pt.
V.N. Bhatkhande (Swara and Taal-lipi); writing ChotaKhayal, Swarmalika and Lakshangeet,
Dhrupad (only Sthayi and Antara) in musical notation.
5. Identification of ragas with the help of given short Swara-vistar.
6. Life and contribution in brief of Tansen and Pt. V.N. Bhatkhande.
PRACTICAL
1. Singing and identifying Shuddha and VikritSwaras.
2. Idea of Laya; Vilambit, Madhya and Drutlayas.
3. Singing of 10 alankars in Dugun and Chaugun Laya.
4. Yaman, Khamaj, Kafi, Bhairavi, Alhaiya Bilawal - Singing of one Madhya laya khayal song in any three ragas as mentioned above (with alaaps and taans). Lakshangeet and Swarmalika in the other two ragas, One Dhrupad Geet in any one raga (Only sthai and antara); National Anthem - Jana
Gana Mana and National Song - VandeMataram (notation is not required).
5. Padhant (Reciting): Thekas of the following five taals with Taali, Khali shown on hands: Teen Taal, Keharwa, Dadra, Ektaal and Chartaal; their Dugun also.
6. Identification of ragas
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SECTION B
HINDUSTANI INSTRUMENTAL MUSIC
(EXCLUDING TABLA)
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THEORY
1. (a) Non-detail terms: Sangeet; two main systems
of Indian Music; Naad, Saptak; Thaat; Alankar; Raga, Janak-Janya Ragas and Ashraya raga; Vadi, Samvadi, Anuvadi, Vivadi; Aroha, Avaroha, Pakad;Chal and AchalSwar. Chal and AchalThaat, Toda, Alaap; Matra, Vibhag, Taal, Avartan, Sam, Taali, Khali, Theka; Thah (Barabar or Ekgun), Dugun, Chaugun.
(b) Detailed topics: Swara (Shuddha and VikritSwars), Jati (Odava, Shadava, Sampoorna), Laya (Vilambit, Madhya, Drut), Varna (Sthai, Arohi, Avarohi, Sanchari), Forms of Gat (Maseetkhani and Razakhani).
2. Description of the five ragas mentioned under ‘practical’ – their Thaat, Jati, Vadi-Samvadi, Swaras (Varjit and Vikrit), Aroha-Avaroha, Pakad, time of raga and similar raga.
3. Description of the five taals mentioned under practical’; writing them in Thah and Dugun in Taal notation.
4. Knowledge of musical notation system of Pt. V.N. Bhatkhande (swara and Taal-lipi); writing Razakhani Gat (with Bols).
5. Identification of ragas with the help of given short Swara-vistar. Life and contribution in brief of Tansen and Pt. V.N. Bhatkhande. he instrument; correct posture and finger movement.
2. Playing of 10 alankars in Thah, Dugun and Chaugun.
3. Yaman, Khamaj, Kafi, Bhairavi, AlhaiyaBilawal – Playing of one Razakhani Gat in all the ragas as mentioned above (with alaaps and todas). Dhun in any raga mentioned above. National Anthem-Jana
Gana Mana and National Song – Vande Mataram (notation is required).
4. Padhant (Reciting) - Thekas of the following five taals with Taali, Khali shown on hands: Teen
Taal, Keharwa, Dadra, Ektaal and Chartaal; their Dugun also.
5. Identification of ragas.
6. Playing of simple Bols like Da Ra Da Ra, Da Ra Dir Dir, Da Dir, Da Ra, etc.
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SECTION C
HINDUSTANI INSTRUMENTAL MUSIC
(PERCUSSION - TABLA)
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THEORY
1. (a) Non-detail terms: Matra, Taal,Vibhag; Sam; Tali, Khali, Avartan, Theka, Kayada, Palta, Tihai, Mohra, Mukhada, Tukda, Kismen (varieties of Theka) and Peshkara.
(b) Detailed topic: Laya (Vilambit, Madhya and Drut), Layakari (Thah, Dugun, Tigun and Chaugun), Origin and development of Tabla.
2. Writing in Taal-notation of the six Taals mentioned under ‘practical’; with their simple development; writing of Thekas in Thah, Dugun and Chaugun layakaris.
3. Basic knowledge of: Sangeet,Swara and Saptak,
PRACTICAL
1. Knowledge and practice of Vilambit, Madhya and Drut layas as also of Thah, Dugun and Chaugun, with the help of Tali, Khali and matras on hands while reciting Thekas of Taals prescribed.
2. Technique of producing main syllables of Tabla and Bayan (Varnas) like Ta, Dha, Ge, Kat, Tin, Dhin, Tita etc.
3. Playing of Thekas of the following six Taals with development: two kaayadas and its four paltas with tihai in Teentaal, One tukda in each Jhaptaal and Ektaal, one paran in chaartaal, two kismen each in Dadra and KeharwaTaal.
4. Accompaniment (Sangat) in Taals (Dadra and Keharwa).
5. Padhant (Reciting) - Thekas in Thah and Dugun.
Simple developments of Taals mentioned in para
(3), showing Taali, Khali etc. on hands
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CARNATIC MUSIC (92)
There will be one written paper of two hours duration carrying 100 marks and Practical/Internal Assessment of 100 marks.
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1. The fundamental technical terms and their meanings.
2. Principle of Sa, Re, Ga, Ma, notations - significance of symbols commonly used.
3. 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.
4. Lakshanas of the following 16 ragas: Todi; Bhairavi; Kharaharapriya; Kalyani; Sankarabharanam; Shanmukhayriya; Amavardhini; Chakravakam; Kambhoji; Anandabhairavi; Bilahari; Saveri; PoorviKalyani; Hindolam; Mohana; Hamsadhwani.
5. Manodharmasangita and its forms, Raga, Alapana pad-dhai - kalpanasvaras - Dasavidhagamakas.
6. The scheme of 35 talas - Chaputala and its varieties - Desadi and Madhayaditalas - Kriya -
Anga - Laya - Gati - Matra (a detailed knowledge of any two) - Shadangas.
7. Musical forms and their classification - An advanced knowledge of the following musical forms: Gita, Tanavarna, Padavarna, Kriti, Ragamalika, Padam, and Javali.
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To access a detailed syllabus, containing all forms of Performing Arts students can refer to latest syllabus shared below. Click on the download link to access the ICSE class 9 Performing Arts syllabus PDF:
Check: ICSE Class 9 Performing Arts Syllabus 2026-27, PDF
The syllabus provides a detailed understanding of the subject requirements during the exam. When preparing through the Performing Arts syllabus, students can build a solid foundation for both practical and theory papers. A clear understanding of your selected curriculum will help you score well in the upcoming board exam.