Music Paper 3 Questions and Answers - 2021 KCSE Eldoret Diocese Mock Exams

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Questions

SECTION A: BASIC SKILLS (30 MARKS)

  1.          
    1. Copy and continue the given opening to make a melody of 16 bars for voice. Modulate to
      the relative minor before returning to the tonic. Incorporate syncopated rhythms and tempo
      markings. Add phrase marks (9 marks)
    2. Using staff notation compose a tune to suite the following lyrics. Add phrase marks
      (6 marks)
      Mimi kijana nikisoma,
      Nitapaa kama tai.
      Elimu ndio nguzo,
      Vijana wenza tusome.
  2. Harmonize the following melody for Soprano, Alto, Tenor and Bass (SATB). Choose appropriate chords from the following: I, ii,IV,V and vi. (15 marks)

SECTION B: HISTORY AND ANALYSIS (54 MARKS)

  1.        
    1. AFRICAN MUSIC.
      1. What is a fiddle? (1 mark)
      2. Name the parts of the chordophone and state how each of the parts named contributes to
        sound production (4marks)
      3. Outline three ways in which an Obokano player can accompany himself (3marks)
    2.             
      1. Kamabeka is a Kenyan dance among the Bukusu, in Luhya community .State the way in
        which the dance acquired its name (1 mark)
      2. In which occasion is the dance performed? (1 mark)
      3. Outline three factors that have influenced the performance and style of Kenyan traditional
        dances (3 marks)
  2. WESTERN MUSIC COMPOSERS
    Answer any of the two questions numbered (a), (b), (c) and (d)
    1. William Byrd.
      1. Name Byrd’s nationality
      2. Explain William Byrd’s styles of composition (4marks)
      3. What type of work are the following
        1. Gradualia (1mark)
        2. Dona nobis pacem (1mark)
    2. Franz Joseph Haydn.
      1.  In which period of music history did Haydn compose? (1mark)
      2. Describe Haydn’s service of Esterhazy (2marks)
      3. Give the standard classic movements of Haydn’s symphonies (4 marks)
    3. Franz Liszt.
      1. State the nationality of Liszt (1mark)
      2. Outline three factors that influenced Liszt as a musician (3marks)
      3. Give one example of Liszt’s symphonic poem (1marks)
      4. Name any two of his contemporaries (2marks)
    4. Bella Bartok.
      1. In which period of western music history did he compose? (1mark)
      2. What is the importance of folk music to Bartok? (3marks)
      3. Outline any three characteristic features of Bartok’s style (3marks)
  3. ANALYSIS OF THE AFRICAN PRESCRIBED WORK.
    Chivoti by Diwani Nzaro from youtube
    1. For what media is this work? (1mark)
    2. Outline the series of events that mark the first section (4marks)
    3. Explain how contrast is achieved in this work (3marks)
    4. State any two characteristics of African music evidence in this performance (2marks)
  4. ANALYSIS OF WESTERN PRESCRIBED WORK.
    Too much I once lamented by Thomas Tomkins
    1. Citing examples from the piece, Explain how word painting has been used as a technique in
      this piece. (4marks)
    2. Give the dynamic range in the piece (1marks)
    3. Describe this piece in terms of tempo (1mark)
    4.  In relation to bar numbers, Outline where the following compositional techniques have
      been used in the melodic movement. (4marks)
      1. Tie and slur
      2. Sequence
      3. Dynamic variation
      4. Melodies repeat
  5. UNPREPARED ANALYSIS
    Study the music below and answer the questions that follow.
    1.  Name the Tonic key and the key to which the music modulates at bars 7 to 8. (2
      marks)
    2. By use of bar numbers, identify the following; (2 marks)
      1. Exact repetition -
      2. Sequence -
    3. Name the cadence at bar 3 to 4. (1 mark)
    4. Write down the most commonly used rhythmic motif. (1 mark

SECTION C: GENERAL MUSIC KNOWLEDGE (16 MARKS)

  1.           
    1. The following melody is written for a clarinet in B flat. Rewrite it at concert pitch(5 marks)
    2.          
      1.  Who is a concert master? (1 mark)
      2. Outline two responsibilities of a concert master (2 marks)
    3. Name any four occasions when the Kenya national anthem is sung (4 marks)
    4. Define any four of the following terms (4 marks)
      1. Overture
      2.  Arpeggio
      3. Picardy third
      4. Virtuoso
      5. Coda

Marking Scheme

  1.        
    1. 16 bar melody 16 bars 1 mk
      Modulation to and fro (well established) 2 mks Syncopation 2 mk
      Tempo markings 1 mk Rhythmic variation 1 mk
      Cadences (any two including the final ½ mark each) 1 mk Phrasing (2 bar phrasing , as a whole) 1 mk
      Total 9 mks
    2. Writing a melody to given text Syllabic division 1 mk
      Speech rhythm 1 mk Accentuation 1 mk
      Lyricism 1 mk
      Cadences (any two including the final cadence ½ mark each) 1 mk Musicianship 1 mk
  2. Chords (1/2 mark for each correct chord) 5 ½ mks Voice leading (Alto, Tenor, Bass) 1 ½ mks
    Voice Range (Appropriate range for Alto, Tenor, Bass) 1 ½ mks Cadences ( ½ mark for each cadence at phrase ends) 1 mk Dominant seventh chord and correct resolution 1 ½ mks Progression 4 mks
    Total 15 mks
    Deduct ½ mark (maximum 3 ½ marks) for the following faults Parallel octaves
    Crossing of parts spacing Doubled 3rd in major chords
    Wrong use of 2nd inversions Wrong rhythm/note values Stemming
    Exposed 5ths and octaves Parallel octaves Overlapping
  3. AFRICAN MUSIC.
    1.      
      1. What is a fiddle? (1 mark)
        A single or doudle stringed instrument which produces sound when bowed
      2. Name the parts of the chordophone and state how each of the parts named contributes to sound production (4marks)
        Bridge- Raises the strings to avoid contact with the membrane for clarity of the sound Resonator- Amplifies sound
        Strings- Vibrate to produce sound when plucked, strummed, bowed Tuning pegs- Tightening and loosening the strings when tuning
      3. Outline three ways in which an Obokano player can accompany himself (3marks)
        •  Singing
        • Dancing
        • Playing leg rattles
    2.           
      1. Kamabeka is a Kenyan dance among the Bukusu, in Luhya community .State the way in which the dance acquired its name (1 mark)
        • It acquired its name from the body parts (shoulders) which exhibits the moves
      2. In which occasion is the dance performed? (1 mark)
        • initiation
      3. Outline three factors that have influenced the performance and style of Kenyan traditional dances (3 marks)
        • Influence from modern dance moves eg odie dance
        • Change in costume as a result of geographical factors results to change in moves Western influence leads to incorporation of Western dance moves to Kenyan dances
  4. WESTERN MUSIC COMPOSERS
    Answer any of the two questions numbered (a), (b), (c) and (d)
    1. William Byrd.
      1. Name Byrd’s nationality (1 mark)
        • English
      2. Explain William Byrd’s styles of composition (4marks) Contrapuntal style
        • Cantus firmus
        • Use of word painting Free rhythms
        • Free use of dissonance
        • Change of meter in instrumental work
      3. What type of work are the following
        1. Gradualia (1mark)
          • motet
        2. Dona nobis pacem (1mark)
          • mass
    2. Franz Joseph Haydn.
      1. In which period of music history did Haydn compose? (1mark)
        • classical period
      2. Describe Haydn’s service of Esterhazy (2marks)
        • Conducting the orchestra
        • Coaching the singers for operatic performance Supervise musicians
        • Composing all music requested by the patron Keep instruments in repair
      3. Give the standard classic movements of Haydn’s symphonies (4 marks)
        • Allegro (in sonata form) Slow / andante
        • Minuet and trio Allegro in rondo form
    3. Franz Liszt.
      1. State the nationality of Liszt (1mark)
        • Hungarian
      2. Outline three factors that influenced Liszt as a musician (3marks) Chopin influenced his piano music
        • Paganini great piano virtuoso influence his piano playing Berlioz influenced orchestral music
        • He was influenced by the works of early composers like J.S Bach of Baroque period and Palestrina of renaissance period
        • He was influenced by his own father
        • He was also influenced by Richard Wagner
      3. Give one example of Liszt’s symphonic poem (1marks)
        • Les preludes
      4. Name any two of his contemporaries (2marks)
        • Wagner Mendelssohn
        • Barlioz Chopin
        • Dvorak Tchaikovsky
    4. Bella Bartok.
      1. In which period of western music history did he compose? (1mark)
        • 20th century
      2. What is the importance of folk music to Bartok? (3marks)
        • Folk music was an inspiration to Bella Bartok from the beginning to the end
        • He imitated the strumming accompaniments to folk tunes There is always an earthly feel to Bartok’s folksong output
        • He applied the folksongs and dances in his most discordant phrases
        • He used the established forms like rondo and sonata in his folksong arrangement
        • His other compositions are saturated with folk music idioms like rhythms, modes and melodic tunes
      3. Outline any three characteristic features of Bartok’s style (3marks)
        • It had some Romantic characteristics elements
        • He employed Hungarian folk elements
        • He employed short melodies in contrapuntal and harmonic textures in the same composition
        • His music embrace a wide range of emotions and is deeply expressive
        • He made use of old church modes and pentatonic scale along with other scales He was fond of glissandos in his use of timpani
        • Rhythmically, his music is characterized by powerful beat , unexpected accents and changing meters.
        • He also used irregular and asymmetric patterns
  5. ANALYSIS OF THE AFRICAN PRESCRIBED WORK.
    Chivoti by Diwani Nzaro from youtube
    1. For what media is this work? (1mark)
      • Instrumental
    2. Outline the series of events that mark the first section (4marks)
      • The first idiophone introduce the work using the following rhythm/beat d d /d d d d d d / d d d d d d
      • It maintains the same pattern up to the end of the performance
      • The second idiophone comes in after about four crotchet beats by the first idiophone The second idiophone plays the following rhythmic pattern
      • d /d d /d d /d d /d up to the end of this performance The two idiophones cue in the chivoti player
    3. Explain how contrast is achieved in this work (3marks)
      • Idiophones produce only the percussive sound
      • Chivoti produces a melody
      • Chivoti has a different rhythmic pattern than the idiophones Every idiophone has its own rhythm
    4. State any two characteristics of African music evidence in this performance (2 marks)
      • Short repetitive melody
      • African instruments used
      • The stable tonality The strophic style used
      • Use of pentatonic scale Call and response in style
  6. ANALYSIS OF WESTERN PRESCRIBED WORK.
    Too much I once lamented by Thomas Tomkins
    1. Citing examples from the piece, Explain how word painting has been used as a technique in this piece. (4marks)
      • Use of long rhythms which are tied to express the concept of too much Use of dull music and dissonance to paint torment
      • Use of slow tempo to indicate lamentation
      • Use of melismas like in the word lamented in tenor from bars 5 - 6
    2. Give the dynamic range in the piece (1marks)
      • f (loud) p (soft)
    3. Describe this piece in terms of tempo (1mark)
      • Slow tempo
    4. In relation to bar numbers, Outline where the following compositional techniques have been used in the melodic movement. (4marks)
      1. Tie and slur
        • bars 8-9, 11-13, 18-19, 22-23, 49-51
      2. Sequence
        • Bars 26-27 bass repeats the melody it introduced in bars 24-25 by a sequence In bars 28-29 tenor repeats bars26-27 of bass by a sequence
        • Tenor performs a sequence at bars 69-79and bars 71-72, 74-75
      3. Dynamic variation
        • Bars 5-12 (mf), 13-20 (f), 21-22 (dim), 30-34 (f) 36-50 (p)
      4. Melodies repeat
        • Bars 73-74, soprano 1 and soprano 2, tenor bars 74-75, bass bars 73-74
  7. UNPREPARED ANALYSIS
    Study the music below and answer the questions that follow.
    1. Name the Tonic key and the key to which the music modulates at bars 7 to 8. (2 marks)
      • C Major
      • Modulates to A minor at bars 7- 8
    2. By use of bar numbers, identify the following; (2 marks)
      1. Exact repetition - Bars 12b to 14 repeated at bars 16b to 18
      2. Sequence - Bars 9 -10 sequenced at bars 11 - 12
    3. Name the cadence at bar 3 to 4. (1 mark)|
      1. Imperfect cadence
    4. Write down the most commonly used rhythmic motif. (1 mark)
      Eld21Musp3qa7c
  8.       
    1. The following melody is written for a clarinet in B flat. Rewrite it at concert pitch (5 marks)
      Eld21Musp3qa8a
    2.        
      1. Who is a concert master? (1 mark)
        • The most skilled and knowledgeable violinist of the orchestra. The chief intermediary between the musicians and the conductor
      2. Outline two responsibilities of a concert master (2 marks)
        • Dictating bowings to the first violin section
        • Playing solo passages in the absence of a guest soloist
    3. Name any four occasions when the Kenya national anthem is sung (4 marks)
      • During ceremonial occasion like Madaraka, Jamuhuri day Labour day
      • During parade in institutions on Monday and Friday
      • When there is a president from another country Special games eg. Athletics, football
    4. Define any four of the following terms (4 marks)
      1. Overture
        • An orchestral composition forming the prelude or introduction to an opera, oratorio
      2. Arpeggio
        • Is a broken chord, or a chord in which individual notes are struck one by one rather than all together at once
      3. Picardy third
        • Is a harmonic device used in Western classical music. It refers to the use of a major chord of the tonic at the end of a musical section that is either modal or in a minor key
      4. Virtuoso
        • Performing with exceptional ability, technique or artistry
      5. Coda
        • A tail piece; a closing section appended to a movement 

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