KCSE 2017 Music Paper 3 with Marking scheme

SECTION A: BASIC SKILLS (30 marks)

Answer all questions in this section

1. Melody
   1. Starting with the given opening, compose a melody of sixteen bars for voice, modulating to the dominant and returning to the tonic. Incorporate a sequence.   (9 marks)
      
   2. Compose a melody and set to it the text given below. Use the treble stave a key of your choice.  (6 marks)
      Kenya yetu nchi nzuri, ni lazima tuilinde
      Tupendane kama ndugu, tuijenge nchi yetu.
2. Harmonise the soprano melody below for SATB. Choose appropriate chords from I, II, IV, V and VI.  (15 marks)
   
   

SECTION B: HISTORY AND ANALYSIS (54 marks)

3. African Music
   1. Explain three main performance styles of traditional African folksongs. (4½ marks)
   2. Identify each of the drums below as either single-headed or double-headed. (3½ marks)
      
      1. Mukanda
         
      2. Chapuo
         
      3. Efumbo
         
      4. Atenusu
         
      5. Kithemebe
      6. Kalapapla
         
      7. Ngutha
   3. State four characteristics of African traditional vocal ornaments.    (4 marks)
   4. Identify two ways through which a player of Nyatiti accompanies himself.      (2 marks)
4. Western Music
   Answer any two of the questions 
   1. Henry Purcell
      1. State three factors that influenced Purcell to compose many works for the church.   (3 marks)
      2. State two ways in which Purcell's music has been used by other musicians.   (2 marks)
      3. Identify the medium for which Dido and Aeneas was written.     (2 marks)
   2. Christoph Willibald Gluck
      
      1. Identify four sections of the opera that were affected by Gluck's reforms. (4 marks)
      2. Identify two important events for which Gluck was commissioned to compose opera.  (2 marks)
      3. Name the honour bestowed upon Gluck by Pope Benedict XIV.   (1 mark)
   3. Frederic Chopin
      1. Chopin's music had a unique sound. Outline five features that contributed towards this uniqueness.
         (5 marks)
      2. Name Chopin's contemporary with whom he was credited for developing the Romantic piano technique.
         (1 mark)
      3. Name Chopin's country of birth   (1 mark)
   4. Jean Sibelius
      1. State three ways in which Sibelius helped Finland develop a national identity during its struggle for independence from Russia.   (3 marks)
      2. Identify the type of work represented by the following:   (3 marks)
         1. 'Tapiola'
         2. 'Kullervo'
         3. 'Jungfrun I tornet'
      3. What is 'The Silence of Jarvenpaa'?   (1 mark)
5. Analysis of Prescribed African Music
   Isururu Dance (Kuria) by Ntimaru Traditional Dancers (PPMC Recording)
   1. Complete the table below naming the instrument used in the recording and stating the role of each one of them.     (5 marks)
      

      CATEGORY	INSTRUMENTS	ROLE
      Percussion
      Strings
      Wind

   2. State five ways through which call and response style of singing is manifested in this recording   (5 marks)
6. Analysis of Prescribed Western Music
   *Danny Boy' (TTBB) Arranged by Jameson Marvin
   1. Outline five ways through which contrast has been created in this music.   (5 marks)
   2. Give the name used to refer to the general form of this music.    (1 mark)
   3. Identify the following chords in relation to the tonic:   (1 mark)
      1. Final chord in bar 34   (1 mark)
      2. Final chord in bar 38   (1 mark)
   4. Describe the performance medium for this music.   (2 marks)
7. Analysis of Unprepared Work
   Refer to the music "Minuer" (W. A. Mozart) and answer the questions that follow:
   
   
   1. With reference to bar numbers. identify the form of this music  (2 marks)
   2. Name the melodic development device used in bar 1.   (1 mark)
   3. Describe the key scheme of the music between bars 11 and 22.  (1½ marks)
   4. Identify the relationship between bars 15-16 and bars 17-18.  (1 mark)
   5. Name the ornament used in the music. (½ mark)

SECTION C: GENERAL MUSIC KNOWLEDGE (16 marks)

8.  
   1. Outline five ways through which a traditional musician can earn a living from music.  (5 marks)
   2. The passage below contains two ornaments. Rewrite the melody, spelling out how each of the ornaments should be performed.   (4 marks)
      
   3. Give the meaning of the following terms as used in music
      
      1. Cadenza   (1 mark)
      2. Motif         (1 mark)
      3. Etude        (1 mark)
      4. Libretto     (1 mark)
   4. Outline three ways through which cross-cultural marriages have influenced the performance of traditional dances in Kenya.    (3 marks)

MARKING SCHEME

SECTION A: BASIC SKILLS

1. Melody 
   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 perfect cadence) 1 mark
      • Sequence    1 mark
      • Melodic curve (½ mark) and climax (½ mark)   1 mark
      • Phrasing (2 bar anacrusis phrasing - mark as a whole)  1 mark 
      • Rhythm (variation conformity)    1 mark
        Total   09 marks
   2.  
      • Text setting to music (speech rhythm/accents -% 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
        NB: if key signature is wrongly written, penalize final cadence and musicianship
        Total 06 marks
2. Harmony
   • Chords mark for each correct chord x 13chords   6½ marks 
   • Voice leading (½  mark for each voice; Alto, Tenor, Bass) 1½ marks
   • Correct cadences at end of each phrase @ ½ mark 1 mark
   • Voice range (mark as a whole) 1 mark 
   • Progression (devoid of harmonic faults)    5 marks
     Deduct ½  mark each for any the following faults (maximum of 5 marks)
   • Consecutive perfect 5ths       ½  mark each
   • Parallel octaves       ½  mark each
   • Crossing of parts        ½  mark each
   • Voice overlapping      ½  mark each
   • Spacing     ½  mark each
   • Doubled 3rds in major chords    ½  mark each
   • Doubled leading    ½  mark each
   • Wrong use of ⁶ ₄  or 2nd  inversion chords   ½  mark each
   • Wrong rhythms/note values (mark as a whole)   ½  mark 
   • Stems (mark as a whole)   ½  mark 
   • Exposed 5ths or 8ves   ½  mark each
   • From unison to 5ths or 8ves and vice versa  ½  mark each
   • Hidden 5ths to octaves and vice versa   ½  mark each
   • Others-missing key signature, missing double bar lines If all the chords are wrong, then no harmony.
      ½  mark each
     Total       15 marks

SECTION B: HISTORY AND ANALYSIS (54 MARKS)

3. African Music (14 marks)
   1.  
      1. Solo singing chanting - one person sings without a group
      2. Solo-chorus/call-response - one person/group sings and a group responds
      3. Group singing the whole group sings in unison without a defined leader.
          ½ mark for naming x 3
         1 mark for correct explanation
         4 ½ marks
   2.  
      1. Mukanda -Double headed
      2. Chapuo- double headed
      3. Efumbo - single headed
      4. Atenusu - double headed
      5. Kithembe-single headed
      6. Kalapapla-single headed
      7. Ngutha -single headed
          ½ mark each
         3 ½ marks
   3. Traditional ornaments:
      
      1. They are performed spontaneously
      2. They are specific to the gender of the performer 
      3. Specific to the community
      4. Often repetitive 
      5. Performed at a higher or lower pitch than the song/melody
      6. At irregular intervals - intermittently
         1 mark each for any 4
         4 marks
   4.  
      • the metal ring (nyaduong loduong' worn on the toe is used to hit the arm rhythmically to provide percussive accompaniment
      • The player sings along as they play nyatiti
      • The leg jingles/rattles (gara) provided rhythmic accompaniment
      • Use of vocal ornamentation
      • Talking/speaking
        1 mark each for any 4   4 marks
4. Western Music (14 marks)
   
   1. Henry Purcell
      
      1.  
         • chorister at His Majesty's Chapel Royal
         • Copyist at Westminster Abbey 
         • Organist at Westminster Abbey
         • Organist at Chapel Royal 
         • Instrument keeper at the Church
         • His teachers at Chapel Royal; Pelham Humphrey, John Blow
         • Assistant to organist builder John Hingston
           1 mark each x 3      3 marks
      2.  
         • His musical works have been adapted and incorporated by other composers in their works
         • His contemporaries wrote some of their works based on his musical style 
         • A number of his works have been used in films .
         • His works have been studied and referenced to
         •  His works performed by other musicians
           1 mark each x 2 2 marks
      3. Voice and orchestra/instruments    2 marks
   2. Christoph W. Gluck
      1.  
         • Recitative
         • Aria
         • Chorus 
         • Orchestra 
         • Overture
           1 mark each x 4   4 marks
      2. The royal wedding between the Bavaria and Saxony families/Dresden • The Prague Carnival
         1 mark each x 2   2 marks
      3. The Knight of the Golden Spur    1 mark
   3. Fredric Chopin
      1.  
         • Use of tempo rubato
         • Use of chromaticism for emotional intensity 
         • Harmonies create subtle shades of color and give the music a fragile feeling 
         • Melodies are either reflective and touching or exciting and grand 
         • Atmospheric use of the pedal
         • Massive use of dynamics •
         • Use of dissonant chords
           1 mark each x 5    5 marks
      2. Franz Liszt  1 mark
      3. Poland   1 mark
   4. Jean Sibelius
      1.  
         • He composed plenty of patriotic music
         • He composed music based on Finnish traditions such as mythology and epics 
         • He composed music in praise of Finland's nature and landscapes
         • He performed/conducted his music in many events across the country
           1 mark each 3  3 marks
      2.  
         1. Tone poem
         2. Choral
         3. Opera
            3 marks
      3. The period during which Sibelius never wrote any new music.   1 mark
5. Analysis of Prescribed African Music (10 marks)
   1.  
      

      CATEGORY	INSTRUMENTS	ROLE
      Percussion	Leg rattles (ibibiria) (½ mark)  Shakers/gourds - ibirandi (½ mark)	Provide rhythm - (½ mark) Maintain tempo (½ mark)
      Strings	Fiddle - ekegogo  (½ mark)  Lyre - iritungu (½ mark)	Provide melody/ add tone colour / enrich texture (½ mark)  Play ostinato/ provide harmonic accompaniment/ enrich texture (½ mark)
      Wind	Whistle - isirimbi (½ mark)	Provides embellishment/ marks climax (½ mark)

   2.  
      • Solo-chorus response
      • solo-chorus overlapping 
      • solo calls, chorus responds with same text 
      • solo calls and chorus responds with different text 
      • short melody/phrase from solo call and long melody from chorus 
      • Long melody/phrase call and short melody/phrase chorus response
        1 mark each x 5    5 marks
6. Analysis of Prescribed Western Music (10 marks)
   1.  
      • Tempo variations - use of rubato, rit., fermatas
      • dynamic/intensity contrast - wide range of dynamics explored 
      • texture - homophonic vs polyphonic and occasional unison 
      • Use of articulation marks, directions e.g. legato, slight tenuto etc.
      • use of soloist against chorus 
      • use of singing against humming 
      • use of divisi in certain voices
      • augmentation of melody in bass 
      • modulation to e minor
        1 mark x 5   5 marks
   2. Strophic form   Binary   1 mark
   3.  
      1. Chord vi    1 mark
      2. Chord IV   1 mark
   4. Written for male voices/choir
      Tenor 1, Tenor 2, Baritone, Bass    2 marks
7. Analysis of Unprepared Work (6 marks)
   1. Binary/AB form   1 mark
      Section A - bar 1-10 (½ mark)
      Section B-bar 11-22 (½ mark)
      2 marks
   2. Sequence    1 mark
   3. bar 11-12 B major
      bar 13-14 C major
      bar 15-22 F major
      (½ mark each x 3 )    (1½mark)
   4. The music is the same but transposed an octave up in bars 17-18.   1 mark
   5. Acciaccatura    ½mark

SECTION C: GENERAL MUSIC KNOWLEDGE (16 MARKS)

8.  
   1.  
      • Through live performances
      • through recording and sale of music 
      • making and selling music instruments
      • making and selling costumes and artefacts
      • working as resource persons/instructors in learning institutions
      • earnings royalties from airplay
      • through commission to perform at special events 
      • earnings from accompanying performances
        1 mark each x 5    5 marks
   2.  
      
      1 mark for omament in bar 1
      1 mark for slur in bar 1
      2 marks for ornament in bar 2     4 marks
   3.  
      1. Cadenza - a passage originally improvised by the performer in which virtuoso ability was displayed in the classical concerto
      2. Motif - recognizable thematic idea, a group of notes that has a recognizable thematic character
      3. Etude - a piano piece, a study intended for the technical practice of the player
      4. libretto - text of an opera/oratorio or a large vocal work
   4.  
      • borrowing of dance styles
      • borrowing of costumes
      • borrowing melodies/songs 
      • assimilation of cultural performance practice
      • borrowing/mix of language used in the performances 
      • originality/authenticity of performances is affected