Music Paper 3 Questions and Answers - Samia Joint Mock Examination 2021/2022

Instructions to candidates

1. Write your name and index number in the spaces proved above
2. Sign and write the date of the examination in the spaces
3. Answer all the questions in this paper
4. In question 1 choose either (a) or (b)
5. In question 4 choose any two of the questions numbered (a), (b), (c) and (d)
6. All answers must be written in the spaces provided
7. This paper consists of 9 printed pages
8. Candidates should check the question paper to ensure that all the pages are printed as indicated and that no questions area missing
9. Candidates should answer the questions in English

SECTION A. BASIC SKILLS ( 30 MKS)

1. Melody
   
   1. Starting with the given opening, compose a melody of sixteen bars for voice, modulating to the relativemajor and returning to the tonic. Introduce dynamics. (9 marks)
      
   2. Using staff notation, compose a tune to the following words. Add phrase marks. (6 marks)
      Singing, playing and dancing together
      Keeps the children united and happy
2. Harmonize the following melody for soprano, alto tenor and bass (SATB). Choose appropriate chords from, I, ii, IV, V and vi. Incorporate a passing sixfour in the firstbar. (15 marks)
   

SECTION B. HISTORY AND ANALYSIS.

3. AFRICAN MUSIC (14 MKS)
   1. Name three communities that traditionally perform the following dances (3marks)
      1. Ohangla
      2. Gitiiro
      3. Entabanan
   2. Give any four advantages of using call and response style of singing ( 4marks)
   3. What are self sounding instruments?(2marks)
   4. The style of performing African folksongs has changed over the years, give any two factors that have contributed to this change.(2 marks)
   5. State three roles of music in harvesting (3marks)
4. WESTERN MUSIC
   1. WILLIAM BYRD
      1. State two factors that influence Byrd as acomposer( 2marks)
      2. State any three of his contributions to instrumental music (3marks)
      3. Name any two of his contemporaries (2 marks)
   2. JOSEPH HAYDN
      1. Why is Hayden refers to as father of symphony. Give three reasons (3 marks)
      2. Name the title of haydens most popular oratorios (2 marks)
      3. Name two limitations of patronage to hydns music career (2marks)
   3. FRANZ LISZT
      1. State the nationality of List (1mark)
      2. Describe les preludes (2 marks)
      3. Name any two examples of lists piano works (2 marks)
      4. Name any two contemporaries of liszt (2marks)
   4. BELLA BARTOK
      1. In which period of western music history did he compose (1mark)
      2. State any three factors that influenced Bartoks music compositions (3 marks)
      3. What is night music? (2 marks)
      4. Which instrument is Bartok associated with? (1 mark)
5. PRESCRIBED AFRICAN MUSIC. (10 mks)
   (Chivoti by Diwani Nzaro from you tube)
   1. What type of african performance is this recording? (1mark)
   2. Explain three roles of the main medium (3marks)
   3. Identify the two styles of perfoemnce evident in the recording (2 marks)
   4. Explain how climax has been achieved in the performance (2 marks)
   5. Describe the ending of the performance (2marks)
6. PRESCRIBED WESTERN WORK (10 mks)
   (TOO MUCH I ONCE LAMENTED)
   1. Give two features which identify ‘too much I once lamented’ as a ballet . (2marks)
   2. Identify the following melodic devices used in the following sections in the music (2marks)
      1. Bar 53-56 in the tenor voice
      2. Bar 75in the bass and alto voices
   3. State three contrasting features between the first and second refrains of the works (3marks)
   4. By use of bar numbers , describe the form of this music ( 2marks)
   5. Describe the metre used in this music ( 1mark)
7. UNPREPARED ANALYSIS (6 marks)
   Study the piece below and answer the questions that follow.
   
   
   1. For what medium is this music written? (1 mark)
   2. Describe the form of this music citing bar numbers. (2 marks)
   3. Give the key scheme of the music. (1 ½ marks)
   4. State the bar numbers in which the following developmental devices have been used. (1 mark)
      1. Sequence ………………………………………………………………………………
      2. Scalic motion …………………………………………………………………………
   5. Describe the range of the music. ( ½ mark)

SECTION C: GENERAL MUSIC KNOWLEDGE (16 MARKS)

8.           
   1.        
      1. Differentiate between a whole consort and a broken consort. (2marks)
      2. Outline three ways through which hip-hop music has influenced the performance of traditional dances in Kenya. (3 marks)
      3. State four factors that influence the quality of sound produced on a traditional African fiddle. (4 marks)
   2. The following melody was written for trumpet in B flat. Rewrite it in concert pitch. (4 mks)
      
   3. Name any three composers of the Kenya national anthem. (3 marks)

MARKING SCHEME

SECTION A: BASIC SKILLS

1.      
   1. 16 bars 1 mark
      Lyricism (singability) – within voice range 1 mark
      Modulation and back (well established modulation) 2 marks
      
      • 1 mark for the new key
      • 1 mark for the return to the tonic
        Cadences (½ mark each – any two including the final and any other) 1 mark
        Dynamics 1 mark
        Melodic curve (½ mark) and climax (½ mark) 1 mark
        Phrasing mark as a whole) 1 mark
        Rhythm (variation and conformity) 1 mark
        Total 09 marks
   2. Text setting to music (speech rhythm/accents - ½ mark for each phrase) 2 marks
      Syllabic division (½ mark – as a whole) ½ mark
      Lyricism of melody (mark as a whole) 1 mark
      Cadences (½ mark for final and any other) 1 mark
      Suitable time signature ½ mark
      Melodic curve /climax/shape ½ mark
      Musicianship/creativity (choice of key, performance instructions,
      Word painting, phrasing) ½ mark
      Total 06 marks
2. Award marks as follows
   Chords ½ mark for each correct chord x 12 chords 6 marks
   Voice leading (½mark for each voice; Alto, Tenor, Bass) 1½ marks
   Correct cadences at end of each phrase @½ mark 2 mark
   Voice range (mark as a whole) 11/2 mark
   Progression (devoid of harmonic faults) 3 marks
   Passing 6/4 chord 1mark
   Deduct ½ mark each for any the following faults (maximum of 5½ marks)
   Consecutive perfect 5ths ½ mark
   Parallel octaves ½ mark
   Crossing of parts ½ mark
   Voice overlapping ½ mark
   Spacing ½ mark
   Doubled 3rds in major chords ½ mark
   Doubled leading ½ mark
   Wrong use of 2nd inversion chords ½ mark
   Wrong rhythms/note values (mark as a whole) ½ mark
   Stems (mark as a whole) ½ mark
   Exposed 5ths or 8ves ½ mark
   From unison to 5ths or 8ves and vice versa ½ mark
   Hidden 5ths to octaves and vice versa ½ mark
   Others –missing key signature, missing double bar lines ½ mark
   If all the chords are wrong, then no harmony.
   Total 15 marks
   If 7 chords wrong, no marks for Voice Leading and Progression

SECTION B

3.      
   1. Ohangla-Luo
      Gitiiro-Gikuyu
      entabanana- gusii 1 x 3 (3 marks)
   2. It facilitates the distribution of roles
      
      • Makes mastery of text easier
      • Involves the whole group-full participatin of all members.
      • Keeps participants alert incase of key change and entries
      • Greater variety of texture
      • Pitching is easily set by the soloist
      • Makes the performance interesting
      • Allows soloist a break before the next section
      • Allows for spontaneous improvisation/creativity by soloist 1 x 4 (4mks)
   3. These are idiophones that produce sound through vibration of the whole body. (2mk)
   4.      
      • oral transmission of song
      • adjudicators comments
      • use of stage
      • interaction of communities/ intermarriages 1x2
   5.      
      • Making work easy
      • To mock the lazy workers
      • To thank god for a good harvest
      • To encourage / congradulate the hard workers 1x3
4. William byrd
   
   1. State any two factors that influenced byrd as a composer (2 mks)
      
      • His association with Thomas tallis
      • Was made a gentleman of the royal chapel
      • His association with catholic and Anglican church
      • Licenced by queen to print and sell music
      • Studie at the musical establishment of the chapel royal
   2. State any three of his contribution to instrumental music (3 mks)
      
      • Fantasies
      • Variation
      • Dances
      • Consort for viols
      • Grounds for virginals
   3. Name any two of his contemporaries (2 mks)
      
      • Thomas tallis
      • Lassus
      • Victoria
      • Thomas morley
      • Weeklies

JOSEPH HAYDN

1. Why is hayden refers to as fathe of symphony. Give three reasons (3 mks)
   • Composed 1o4 symphonies
   • Established general layout of symphony orchestra
   • Standardized the sonata formas the first movement of the symphony
   • Identified his symphonies with nicknames
   • He added minuet as the dance in the 3rd movement of the symphony
   • Increases the size of the orchestra in his symphonies by adding more instrumentse.g the wood winds and brass
2. Name the title of haydns two most popular oratorios (2 mks)
   • The seasons
   • The creation
3. Name two limitations of patronage to haydns music career (2mks)
   • Haydn felt very restricted
   • He was cut off from the world

1. FRANZ LISZT
   1. State the nationality of List (1mk)
      hungarian
   2. Describe les preludes (2 mks)
      The basic motive is treated as a majestic melody in one section as a match, including section.
   3. Name any two examples of lists piano works (2 mks)
      • Sonata in B minor
      • Hungarian dances
      • Two piano concertos
      • Arrangement of songs and operatic arias
   4. Name any two contemporaries of liszt
      • Wagner
      • Chopin
      • Barlioz
      • Mendelssohn
      • Dvorak
      • Smetana
2. BELLA BARTOK
   1. In which period of western music history did he compose (1mk)
      20th C
   2. State any three factors that influenced Bartoks music compositions (3 mks)
      • Othe composers like Berlioz, Lizst
      • The second Viennese music school influenced him
      • Hungarian and Rumanian folk music
      • His parents, his father was a lover of music
      • His mother workd as a piano teacher
   3. What is night music? (2 mks)
      An avocation of night sounds of the central European countryside
   4. Which instrument is Bartok associated with? (1 mk)
      piano

1. PRESCRIBED AFRICAN MUSIC. (10 mks)
   (Chivoti by Diwani Nzaro from you tube)
   1. What type of african performance is this recording? (1mk)
      Solo instrumental accampanied
   2. Explain three roles of the main medium (3mks)
      1. Carry the main melodic line
      2. Play the role of call and response
      3. Pitch the performance
      4. Identify the community
      5. Plays the ornament
   3. Identify the two styles of perfoemnce evident in the recording (2 mk)
      1. Call and respose style
      2. Solo accompanied
   4. Explain how climax has been achieved in the performance (2 mks)
      1. Ornaments at the end and abrupt ending
      2. The high pitch of the chivotiat the end
   5. The ending is ubrupt
      High pitched ascending glissando by chivoti

6. PRESCRIBED WESTERN WORK
   
   1. The presence of the falalala refrain which is repeated 1 mark
   2. Identify the melodic devices used in the following sections in the music
      Bars 53-56 in the tenor voice.
      Melisma
      Bar 75 in the Bass and Alto voices.
      Unison 1 x 2 = 2 marks
   3. State THREE contrasting features between the first and second refrains of the work.
      

      1ST REFRAIN	2ND REFRAIN
      12 bars long	15 bars long
      Ends on A major chord	Ends on A major chord
      Homophonic in texture	Polyphonic in texture
      Has mostly dotted rhythms	Has mostly simple rhythms
      Starts mp – cresc –f –dim	Starts mp – cresc –f –dim
      Uses imitation	Uses imitation

   4. Binary form A//B. bar1-35 sectionA. Bar 36-77. Section B.
   5. Cut common time 2/2 time
      Unprepaed analysis . 1x 3 (3mks)
7.             
   1. For what medium is this piece written? Piano (1mk)
   2. Using bar numbers outline the form of the music. (2 marks)
      Rondo form A bar 1-8
      B bar 9-16
      A bar 17-24
      C bar 25-32
      A bar 33-40 (mark as a whole)
   3. Outline the key scheme of the music.
      Bar 1-24 C major
      Bar 25-30 A minor
      Bar 31-40 C major ( ½ a mark each total 1 ½ marks)
   4. Using bar numbers and parts, identify where the following compositional devices have been used:
      1. Sequence 1-4, 5-8 ,9-14
      2. Scalic motion - Bar 1, 2, 3, 17, 18,19 in the bass stave ( ½ a mark each total 1 mark)
   5. Describe the range of the music. ( ½ mark)
      Compound sixth/ E-upper C

SECTION C: GENERAL MUSIC KNOWLEDGE

1.      
   1. Differentiate between a whole consort and a broken consort (2 marks)
      Whole consort- When the instruments in the ensemble are all of the same family
      Broken consort- When the the instruments in the ensemble belong to more than one family
      1 x 2 (2mks)
   2. Outline three ways through which hip-hop music has influenced the performance of traditional dances in Kenya.
      Incorporation of modern dance styles into Kenyan dances hence affecting originality
      Use of modern costumes in the Kenyan dances.
      • Modernization of instruments used
      • Modern Dance patterns and formations now used in Kenya dances 1 x 3 (3mks).
   3. Outline four factors that influence the quality of sound produced on a traditional African fiddle. (4 marks)
      
      • Fingering technique
      • Length of string
      • Bowing technique
      • Material of bow
      • Type of string
      • Type of resonator e.g wooden and metallic.
      • Type of bridge. 1 x 4 (4mks)
   4. The following melody is written for a trumpet in B flat. Rewrite it in its concert pitch.
      
      Rewrite the melody in the key of G major.
      1 mark for every correctly written bar plus key signature 1 x 4 (4mks)

4. Name any three composers of the Kenya national anthem. (3 marks)
   • Peter Kibukosya
   • George Senoga Zake
   • Graham Hyslop
   • Thomas Kalume
   • Washington Omondi 1 x 3 (3mks)