NCERT Textbook: Discovering the Elements of Music | Arts (Kriti) Class 8 - New NCERT PDF Download

 Page 1


???? ?? ? ????????????????? ??? ?? ??? ??????? ??? ????
? ? ???? ? ?? ??????? ???? ??? ????? ?? ??? ? ?????? ? ??
Yoyam dhwanivisheshastu swar varna vibhushitah I
ranjako janachittanaam sa raga kathato budhayi II
— ?? ???? ??? ?, ?? ??? ??? ???? ????? :, ???? ??? 264
The sound which is pleasant to the ears of human beings 
and which has been aesthetically structured with swar 
and varna (tenets of aroha, avaroha and other special 
features) is termed as raga by the knowledgeable.
—?Matanga’s Brihaddeshi, Chapter 3, Verse 264
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Page 2


???? ?? ? ????????????????? ??? ?? ??? ??????? ??? ????
? ? ???? ? ?? ??????? ???? ??? ????? ?? ??? ? ?????? ? ??
Yoyam dhwanivisheshastu swar varna vibhushitah I
ranjako janachittanaam sa raga kathato budhayi II
— ?? ???? ??? ?, ?? ??? ??? ???? ????? :, ???? ??? 264
The sound which is pleasant to the ears of human beings 
and which has been aesthetically structured with swar 
and varna (tenets of aroha, avaroha and other special 
features) is termed as raga by the knowledgeable.
—?Matanga’s Brihaddeshi, Chapter 3, Verse 264
ch5_MUSIC.indd   54 ch5_MUSIC.indd   54 27-06-2025   11:20:54 27-06-2025   11:20:54
NOTE TO THE TEACHERS 
The students must have noticed that music is an 
integral part of our lives, alive in almost every 
activity we undertake. They surely feel that musical 
traditions which have prevailed in our country deeply 
enrich their lives. They realise how people naturally 
turn to songs to express themselves during important 
moments. Hence, it’s time to let them explore further. 
When they listen to a composition or learn a song, 
let them delve into its various aspects: theme, author, 
beauty of the words or lyrical beauty, di??erent tunes, 
and rhythmic patterns that form a song. Point them 
towards the diverse voices of singers. There is so 
much more to discover. With your motivation they 
will uncover the vibrant, enchanting world of swara, 
laya and shabd, that surrounds and captivates us all. 
Along with the lessons, the assessments should 
be scienti??c, rational and systematic. So, follow the 
guidelines for Formative Assessments given at the 
end of each chapter, which should be conducted in 
a relaxed and engaged manner, and mainly through 
observation in the classroom. The suggestions for 
Summative Assessments are provided at the end of 
the music section. The competencies required for this 
stage are given below. The main aim of assessments 
is to see whether students are able to reach the 
competencies laid out or whether more support is 
needed. Give students qualitative feedback at regular 
intervals to help them develop further.
ch5_MUSIC.indd   55 ch5_MUSIC.indd   55 27-06-2025   11:20:54 27-06-2025   11:20:54
Page 3


???? ?? ? ????????????????? ??? ?? ??? ??????? ??? ????
? ? ???? ? ?? ??????? ???? ??? ????? ?? ??? ? ?????? ? ??
Yoyam dhwanivisheshastu swar varna vibhushitah I
ranjako janachittanaam sa raga kathato budhayi II
— ?? ???? ??? ?, ?? ??? ??? ???? ????? :, ???? ??? 264
The sound which is pleasant to the ears of human beings 
and which has been aesthetically structured with swar 
and varna (tenets of aroha, avaroha and other special 
features) is termed as raga by the knowledgeable.
—?Matanga’s Brihaddeshi, Chapter 3, Verse 264
ch5_MUSIC.indd   54 ch5_MUSIC.indd   54 27-06-2025   11:20:54 27-06-2025   11:20:54
NOTE TO THE TEACHERS 
The students must have noticed that music is an 
integral part of our lives, alive in almost every 
activity we undertake. They surely feel that musical 
traditions which have prevailed in our country deeply 
enrich their lives. They realise how people naturally 
turn to songs to express themselves during important 
moments. Hence, it’s time to let them explore further. 
When they listen to a composition or learn a song, 
let them delve into its various aspects: theme, author, 
beauty of the words or lyrical beauty, di??erent tunes, 
and rhythmic patterns that form a song. Point them 
towards the diverse voices of singers. There is so 
much more to discover. With your motivation they 
will uncover the vibrant, enchanting world of swara, 
laya and shabd, that surrounds and captivates us all. 
Along with the lessons, the assessments should 
be scienti??c, rational and systematic. So, follow the 
guidelines for Formative Assessments given at the 
end of each chapter, which should be conducted in 
a relaxed and engaged manner, and mainly through 
observation in the classroom. The suggestions for 
Summative Assessments are provided at the end of 
the music section. The competencies required for this 
stage are given below. The main aim of assessments 
is to see whether students are able to reach the 
competencies laid out or whether more support is 
needed. Give students qualitative feedback at regular 
intervals to help them develop further.
ch5_MUSIC.indd   55 ch5_MUSIC.indd   55 27-06-2025   11:20:54 27-06-2025   11:20:54
CG1
Develops openness to explore and express themselves 
through various art forms.
C-1.1 Expresses con??dently their personal and 
everyday life experiences through a variety of 
musical activities.
C-1.2 Demonstrates ??exibility in the process of 
collaboratively developing music practices.
CG2
Applies their imagination and creativity to explore 
alternative ideas through the arts.
C-2.1 Creates, and performs songs and musical 
compositions that challenge stereotypes observed in 
their surroundings (such as, gender roles).
C-2.2 Connects elements of music (lyrics, raagas, 
rhythms, volume, tempo and patterns) with personal 
experiences, emotions and imaginations.
CG3
Understands and applies artistic elements, processes 
and techniques.
C-3.1 Demonstrates stage etiquette and, care for 
musical instruments, and makes informed choices 
while using resources and techniques in music.
C-3.2 Re??nes ideas and methods of musical 
expression from the stage of planning to the ??nal 
performance and reviews the entire process.
CG4
Acquaints themselves with a range of aesthetic 
sensibilities in regional arts and cultural practices.
C-4.1 Demonstrates familiarity with various local 
and regional forms of music.
C-4.2 Describes the life and works of a few local 
musicians and performers in their region, and 
across India.
ch5_MUSIC.indd   56 ch5_MUSIC.indd   56 27-06-2025   11:20:54 27-06-2025   11:20:54
Page 4


???? ?? ? ????????????????? ??? ?? ??? ??????? ??? ????
? ? ???? ? ?? ??????? ???? ??? ????? ?? ??? ? ?????? ? ??
Yoyam dhwanivisheshastu swar varna vibhushitah I
ranjako janachittanaam sa raga kathato budhayi II
— ?? ???? ??? ?, ?? ??? ??? ???? ????? :, ???? ??? 264
The sound which is pleasant to the ears of human beings 
and which has been aesthetically structured with swar 
and varna (tenets of aroha, avaroha and other special 
features) is termed as raga by the knowledgeable.
—?Matanga’s Brihaddeshi, Chapter 3, Verse 264
ch5_MUSIC.indd   54 ch5_MUSIC.indd   54 27-06-2025   11:20:54 27-06-2025   11:20:54
NOTE TO THE TEACHERS 
The students must have noticed that music is an 
integral part of our lives, alive in almost every 
activity we undertake. They surely feel that musical 
traditions which have prevailed in our country deeply 
enrich their lives. They realise how people naturally 
turn to songs to express themselves during important 
moments. Hence, it’s time to let them explore further. 
When they listen to a composition or learn a song, 
let them delve into its various aspects: theme, author, 
beauty of the words or lyrical beauty, di??erent tunes, 
and rhythmic patterns that form a song. Point them 
towards the diverse voices of singers. There is so 
much more to discover. With your motivation they 
will uncover the vibrant, enchanting world of swara, 
laya and shabd, that surrounds and captivates us all. 
Along with the lessons, the assessments should 
be scienti??c, rational and systematic. So, follow the 
guidelines for Formative Assessments given at the 
end of each chapter, which should be conducted in 
a relaxed and engaged manner, and mainly through 
observation in the classroom. The suggestions for 
Summative Assessments are provided at the end of 
the music section. The competencies required for this 
stage are given below. The main aim of assessments 
is to see whether students are able to reach the 
competencies laid out or whether more support is 
needed. Give students qualitative feedback at regular 
intervals to help them develop further.
ch5_MUSIC.indd   55 ch5_MUSIC.indd   55 27-06-2025   11:20:54 27-06-2025   11:20:54
CG1
Develops openness to explore and express themselves 
through various art forms.
C-1.1 Expresses con??dently their personal and 
everyday life experiences through a variety of 
musical activities.
C-1.2 Demonstrates ??exibility in the process of 
collaboratively developing music practices.
CG2
Applies their imagination and creativity to explore 
alternative ideas through the arts.
C-2.1 Creates, and performs songs and musical 
compositions that challenge stereotypes observed in 
their surroundings (such as, gender roles).
C-2.2 Connects elements of music (lyrics, raagas, 
rhythms, volume, tempo and patterns) with personal 
experiences, emotions and imaginations.
CG3
Understands and applies artistic elements, processes 
and techniques.
C-3.1 Demonstrates stage etiquette and, care for 
musical instruments, and makes informed choices 
while using resources and techniques in music.
C-3.2 Re??nes ideas and methods of musical 
expression from the stage of planning to the ??nal 
performance and reviews the entire process.
CG4
Acquaints themselves with a range of aesthetic 
sensibilities in regional arts and cultural practices.
C-4.1 Demonstrates familiarity with various local 
and regional forms of music.
C-4.2 Describes the life and works of a few local 
musicians and performers in their region, and 
across India.
ch5_MUSIC.indd   56 ch5_MUSIC.indd   56 27-06-2025   11:20:54 27-06-2025   11:20:54
5 
Discovering the 
Elements of Music
INTRODUCTION 
Welcome back, students! When we 
listen to a piece of music or sing a 
song, we observe that it is made of 
constituent elements.
Some of the main elements of music are — melody 
(raga), rhythm (tala) and lyrics (sahitya). In this chapter, 
we will discover further aspects of rhythm, melody and 
lyrics, and observe how they come together when we sing 
a song. 
Vocal Exercises
Here are some exercises to help develop your voice in 
di??erent ways.
ACTIVITY 5.1: RANGE
Earlier we learnt about the concept of vocal 
range, that indicates the span from the lowest 
to the highest note you can comfortably sing. 
Extending your range is a great way to develop 
your singing. 
These vocal exercises help you practise the 
lower register (mandra saptak) of your voice. 
When practising, remember to keep your 
head and neck in a neutral position to avoid 
straining your voice or throat muscles. 
Mandra Saptak Practice 
S
S ? S
S ? ? ? S
S ? ? P ? ? S
S ? ? P ? P ? ? S
Do you notice a pattern here?
Can you create a similar pattern to extend your 
range in the higher register (tara saptak)?
Group performance by children
ch5_MUSIC.indd   57 ch5_MUSIC.indd   57 27-06-2025   17:25:32 27-06-2025   17:25:32
Page 5


???? ?? ? ????????????????? ??? ?? ??? ??????? ??? ????
? ? ???? ? ?? ??????? ???? ??? ????? ?? ??? ? ?????? ? ??
Yoyam dhwanivisheshastu swar varna vibhushitah I
ranjako janachittanaam sa raga kathato budhayi II
— ?? ???? ??? ?, ?? ??? ??? ???? ????? :, ???? ??? 264
The sound which is pleasant to the ears of human beings 
and which has been aesthetically structured with swar 
and varna (tenets of aroha, avaroha and other special 
features) is termed as raga by the knowledgeable.
—?Matanga’s Brihaddeshi, Chapter 3, Verse 264
ch5_MUSIC.indd   54 ch5_MUSIC.indd   54 27-06-2025   11:20:54 27-06-2025   11:20:54
NOTE TO THE TEACHERS 
The students must have noticed that music is an 
integral part of our lives, alive in almost every 
activity we undertake. They surely feel that musical 
traditions which have prevailed in our country deeply 
enrich their lives. They realise how people naturally 
turn to songs to express themselves during important 
moments. Hence, it’s time to let them explore further. 
When they listen to a composition or learn a song, 
let them delve into its various aspects: theme, author, 
beauty of the words or lyrical beauty, di??erent tunes, 
and rhythmic patterns that form a song. Point them 
towards the diverse voices of singers. There is so 
much more to discover. With your motivation they 
will uncover the vibrant, enchanting world of swara, 
laya and shabd, that surrounds and captivates us all. 
Along with the lessons, the assessments should 
be scienti??c, rational and systematic. So, follow the 
guidelines for Formative Assessments given at the 
end of each chapter, which should be conducted in 
a relaxed and engaged manner, and mainly through 
observation in the classroom. The suggestions for 
Summative Assessments are provided at the end of 
the music section. The competencies required for this 
stage are given below. The main aim of assessments 
is to see whether students are able to reach the 
competencies laid out or whether more support is 
needed. Give students qualitative feedback at regular 
intervals to help them develop further.
ch5_MUSIC.indd   55 ch5_MUSIC.indd   55 27-06-2025   11:20:54 27-06-2025   11:20:54
CG1
Develops openness to explore and express themselves 
through various art forms.
C-1.1 Expresses con??dently their personal and 
everyday life experiences through a variety of 
musical activities.
C-1.2 Demonstrates ??exibility in the process of 
collaboratively developing music practices.
CG2
Applies their imagination and creativity to explore 
alternative ideas through the arts.
C-2.1 Creates, and performs songs and musical 
compositions that challenge stereotypes observed in 
their surroundings (such as, gender roles).
C-2.2 Connects elements of music (lyrics, raagas, 
rhythms, volume, tempo and patterns) with personal 
experiences, emotions and imaginations.
CG3
Understands and applies artistic elements, processes 
and techniques.
C-3.1 Demonstrates stage etiquette and, care for 
musical instruments, and makes informed choices 
while using resources and techniques in music.
C-3.2 Re??nes ideas and methods of musical 
expression from the stage of planning to the ??nal 
performance and reviews the entire process.
CG4
Acquaints themselves with a range of aesthetic 
sensibilities in regional arts and cultural practices.
C-4.1 Demonstrates familiarity with various local 
and regional forms of music.
C-4.2 Describes the life and works of a few local 
musicians and performers in their region, and 
across India.
ch5_MUSIC.indd   56 ch5_MUSIC.indd   56 27-06-2025   11:20:54 27-06-2025   11:20:54
5 
Discovering the 
Elements of Music
INTRODUCTION 
Welcome back, students! When we 
listen to a piece of music or sing a 
song, we observe that it is made of 
constituent elements.
Some of the main elements of music are — melody 
(raga), rhythm (tala) and lyrics (sahitya). In this chapter, 
we will discover further aspects of rhythm, melody and 
lyrics, and observe how they come together when we sing 
a song. 
Vocal Exercises
Here are some exercises to help develop your voice in 
di??erent ways.
ACTIVITY 5.1: RANGE
Earlier we learnt about the concept of vocal 
range, that indicates the span from the lowest 
to the highest note you can comfortably sing. 
Extending your range is a great way to develop 
your singing. 
These vocal exercises help you practise the 
lower register (mandra saptak) of your voice. 
When practising, remember to keep your 
head and neck in a neutral position to avoid 
straining your voice or throat muscles. 
Mandra Saptak Practice 
S
S ? S
S ? ? ? S
S ? ? P ? ? S
S ? ? P ? P ? ? S
Do you notice a pattern here?
Can you create a similar pattern to extend your 
range in the higher register (tara saptak)?
Group performance by children
ch5_MUSIC.indd   57 ch5_MUSIC.indd   57 27-06-2025   17:25:32 27-06-2025   17:25:32
58  |  KRITI
Harmony 
Di??erent notes can be sung at the same time to 
produce a pleasant e??ect. This is called harmony.
ACTIVITY 5.2: FLEXIBILITY
These vocal exercises help you develop ??exibility 
in your voice. Sing them slowly and increase the 
tempo of practice as you get comfortable. 
Sargam in Teentala 
S R S G R G M G S G R G S R G M
R G R M G M P M R M G M R G M P
G M G P M P D P G P M P G M P D
M P M D P D N D M D P D M P D N
P D P N D N S N P N D N P D N ?
X 2 0 3
? N ? D N D P D ? D N D ? N D P
N D N P D P M P N P D P N D P M
D P D M P M G M D M P M D P M G
P M P G M G R G P G M G P M G R
M G M R G R S R M R G R M G R S
x 2 0 3
ACTIVITY 5.3: WARMUPS IN HARMONY 
In Grade 8, we learnt to sing canons, which are a 
??rst step in learning to sing harmony. Now, let us 
sing these vocal warmups.
 ? First sing the lines together as a group.
 ? Then divide into two groups, with each group 
singing one part (simultaneously). 
Try singing this in two groups at the same time:
Warmup in thirds 
Group 1
SRG
DN?
RGM
PDN
GMP
MPD
MPD
GMP
PDN
RGM
DN?
SRG
Group 2
GMP
??G
MPD
N??
PDN
DN?
DN?
PDN
N??
MPD
??G
GMP
Singing in harmony is a wonderful example 
of collaboration. Playing a duet or a jugalbandi is 
another example. Can you think of how you can 
carry forward these principles of harmonious 
collaboration to other areas of your life? 
Note to the Teacher: Explore forms like avaiyya, abhang, etc. What are the compositions trying to convey?
ch5_MUSIC.indd   58 ch5_MUSIC.indd   58 27-06-2025   11:20:55 27-06-2025   11:20:55