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Music and Us – Class 9 Arts Chapter 6 Notes & NCERT PDF

Class 9ArtsChapter 6NCERT book: Madhurima - Arts Class 9

Notes and a simple summary of Chapter 6 of the NCERT Class 9 Arts book, with the official chapter PDF, flashcards, an MCQ quiz and an AI tutor for your doubts.

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Chapter 6: Music and Us (Music)

Introduction

The Music section of Madhurima opens with a verse from the Saṅgītaratnākara (Svarādhyāya):

Nādena vyajyate varṇaḥ padaṁ varṇāt padād vachaḥ | Vachaso vyavahāroʼyaṁ nādādhīnamato jagat ||
Meaning: Nāda manifests the letters, letters make words, and words make sentences. All of life is carried on through language, so the whole world is based on nāda (musical sound).

Chapter 6 asks a simple question: can you imagine a world without music, with no lullabies, no wedding songs, nobody humming a tune? Music tells us who we are and where we come from, and it connects us to our deepest emotions.

Key Ideas

Forms and styles of music

India has one of the most diverse musical cultures in the world, shaped by geography, language and culture.

  • A genre (also called a form or vidhā) is a category of music with characteristic features and sounds. It is defined by its instruments, style of singing, rhythms and even where it comes from.
  • Śhailī is a style of presentation within a genre.
  • Identifying genres helps us classify and understand music.
  • Three broad categories of Indian music

  • Classical / Semi-classical: ancient and living traditions, a rāga-based melodic system, a variety of tālas (rhythm cycles), and an emphasis on improvisation.
  • Folk / Indigenous / Regional: community-based music rooted in regional life, language and customs; passed on orally across generations; linked to everyday work, rituals and festivals.
  • Popular / Film: hybrid music that borrows from many Indian and global influences and reflects contemporary themes and trends.
  • Genres are not watertight compartments. They overlap and interact, giving rise to sub-categories such as devotional and fusion music, film songs based on rāgas, and film songs derived from folk music.

    Song structure

    A devotional song usually has a chorus, called the pallavī (Carnatic) or sthāyī (Hindustani), followed by two or more verses, called charaṇas or antarās. A contemporary song may start with an introduction before the chorus.

    Learning by listening: Kumar Gandharva

    By age 12, Kumar Gandharva could exactly reproduce records of legends like Abdul Karim Khan and Fayyaz Khan. At 23, he fell ill with tuberculosis and lost his voice. Confined to bed for years, he listened to village folk songs, temple bells, birds and wind. When he sang again, his voice had changed, but his music was deeper and fearless. Listening opened a whole new world of music for him.

    Music and emotion

  • Patriotism: during the freedom struggle, songs like Vande Mātaram, written by Bankim Chandra Chatterjee, stirred millions. The song's 150th anniversary was celebrated in 2025.
  • Navarasa: Indian treatises describe nine emotions: Śhṛiṅgāra (love), Vīra (courage), Karuṇa (compassion), Hāsya (joy), Raudra (anger), Bhayānaka (fear), Bībhatsa (disgust), Adbhuta (wonder) and Śhānta (peace). Calm music can lead to Śhānta rasa; a powerful rhythm can inspire Vīra rasa.
  • Music therapy uses rhythms, melodies and sounds to improve mental health, reducing stress, anxiety and physical tension.
  • Folk songs as storehouses of knowledge

    Folk music is closely tied to community traditions. The book's seed-sowing song from Nagaland, Hashei Bu Bu-Ow, is sung by the damsels of the Yingli Phom tribe. It describes the farming year: in the month of Ketnyiü (December) they clear shrubs for new jhum land, erect an altar and pray for a good harvest, build a farm house after the field is burnt, and prepare seeds of paddy, yam, maize, cucumber and pumpkin. They shelter from the sun with bamboo shields, relish rice brew and sing while weeding.

    Kala Utsav

    Kala Utsav is an annual arts festival for secondary-level students, held under the Ministry of Education, Government of India, and organised by NCERT. Videos of musical forms can be watched on PM e-Vidya Channel #33.

    Activities in the Chapter

  • 6.1 My music journal: keep a journal through Grades 9 and 10 for songs you hear, learn and create, and give it a creative name.
  • 6.2 Listening to various genres: tick the genre of each song you hear (Hindustani, Carnatic, folk, patriotic, film, devotional, world music and more).
  • 6.3 Identify the genre: name the genre, instruments, musicians and structure of a song, and how it made you feel.
  • 6.4 Creating my playlist: make a five-song playlist with a name, and note genre, rāga/tāla, composer, artists and why you like each song.
  • 6.5–6.6: learn the Nagaland song, find a similar song from your region, and map folk forms on a map of India.
  • 6.7 My family tradition: write and tune a song about a family tradition or recipe.
  • Key Terms

  • Genre / Vidhā (विधा): a category of music
  • Śhailī (शैली): style of presentation within a genre
  • Pallavī / Sthāyī (स्थायी): the chorus
  • Charaṇa / Antarā (अंतरा): the verses
  • Navarasa (नवरस): the nine emotions
  • Folk music (लोक संगीत): community-based, orally transmitted music
  • Classical music (शास्त्रीय संगीत): rāga-and-tāla-based tradition
  • Improvisation (उपज / मनोधर्म): creating music spontaneously within rules
  • Music therapy (संगीत चिकित्सा): healing through music
  • Jhum (झूम खेती): shifting cultivation
  • Diversity (विविधता): variety
  • Playlist (गीत-सूची): songs grouped for a reason
  • Artists & Traditions

    Kumar Gandharva, Abdul Karim Khan, Fayyaz Khan, Bankim Chandra Chatterjee (Vande Mātaram), the Yingli Phom tribe of Nagaland, and Kala Utsav participants from Assam (flute and bhortāl), Goa (singing with guitar) and Manipur (penā).

    Connect to Your Life

    Think about the songs your family sings at festivals, the music you choose when you feel stressed, and how film songs mix folk, classical and global sounds.

    Common Mistakes

  • Treating genres as rigid boxes. The book stresses that they overlap.
  • Mixing up genre (a category) and śhailī (a style within it).
  • Saying folk music is written down. It is mainly passed on orally.
  • Confusing the chorus (sthāyī/pallavī) with the verses (antarā/charaṇa).
  • Let's Reflect

    Why are both classical and folk music called traditional, and how do they differ? Classical music has structured rules for composition and improvisation, while folk music belongs to a particular region and community.

    💡 Key Learning Points

    • ✓A genre (vidhā) is a category of music; śhailī is a style of presentation within it.
    • ✓Indian music can broadly be grouped as classical/semi-classical, folk/indigenous/regional and popular/film, but genres overlap.
    • ✓Songs have a structure: a chorus (sthāyī/pallavī) followed by verses (antarā/charaṇa).
    • ✓Music awakens emotions (navarasa), builds patriotism (Vande Mātaram) and supports well-being (music therapy).
    • ✓Folk songs, like the Yingli Phom seed-sowing song from Nagaland, preserve traditional knowledge.

    👨‍🏫 Teaching Tips

    • →Start every class by playing a 3–5 minute piece and having students write about it in their music journals.
    • →Run a genre-identification game using short clips from classical, folk, film, devotional and world music.
    • →Ask students to mark the sthāyī and antarā in a song while it plays.
    • →Sing Vande Mātaram together and discuss the emotions and imagery it creates.
    • →Invite a local folk musician to talk about the traditional knowledge in their songs.
    • →Have students build a mood-based playlist and explain which rasa each song evokes.
    • →Use the Nagaland song to compare it with a work song or harvest song from your region.

    📋 Assessment Questions

    1. Can the student define genre (vidhā) and śhailī with an example?
    2. Can the student compare classical, folk and popular/film music?
    3. Can the student identify the sthāyī/pallavī and antarā/charaṇa in a song?
    4. Can the student explain how a folk song preserves traditional knowledge?
    5. Does the student's music journal show regular, reflective listening?

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