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Music Paper 2 (511/2)

RHYTHM ON MONOTONE

Test (a) Drum Rhythm

You are to write on monotone the rhythm of the following repetitive drum pattern. You are require to add time signature and bar lines and also group the notes. The rhythm pattern will be played four times.

Here is the crotchet pulse followed by the first play through.

(Pause: 2 seconds)

(Silence: 30 seconds)

Here is the second play through

(Silence: 30 seconds)

Here is the third play through

(Silence: 30 seconds)

And now, the fourth and last play through

(Silence: 60 seconds)

Rhythm of a melody in simple time.

You are the write the rhythm of the following melody on monotone, adding the time signature. It begins on the first beat of the bar.

Test 1 (b): The melody will be played four times.

Here is the crotchet pulse followed by the first play through.

(Pause: 2 seconds)

(Silence: 30 seconds)

Here is the second play through

(Silence: 30 seconds)

Here is the third play through

(Silence: 30 seconds)

And now, the fourth and last play through

(Silence: 60 seconds)

Test l (c): Rhythm of a melody in compound time.

You are to write the rhythm of the following melody on monotone. It begins on the last beat of the bar. The melody will be played four times.

Here is the dotted crotchet pulse followed by the first play through.

(Pause: 2 seconds)

(Silence: 30 seconds)

Here is the second play through

(Silence: 30 seconds)

Here is the third play through

(Silence: 30 seconds)

And now, the fourth and last play through

(Silence: 60 seconds)

TEST TWO: MELODY

Test 2 (a): Melody in a major key

You are to write the following melody in the key of A major. The melody will be played through once, then the first phrase will be played twice and the second phrase twice. Finally the whole melody will be played right through once again. Write the treble clef and the key signature of A major now.

The melody is in time. Write the time signature now.

(Silence: 10 seconds)

The melody begins on the first beat of the bar. Here is the crotchet pulse.

(Pause: 2 seconds)

Here is the tonic chord of A major and the key note followed by the whole melody.

(Silence: 40 seconds).

And now, here is the tonic chord and key-note again followed by the first phrase.

(Silence: 40 seconds)

Here is the first phrase again.

(Silence: 40 seconds)

Now, here is the keynote and the second phrase.

(Silence: 40 seconds)

Here is the first phrase again.

(Silence: 40 seconds)

Now, here is the keynote and the second phrase.

(Silence: 40 seconds)

Finally, here is the tonic chord followed by the whole melody.

(Silence: 60 seconds)

Test 2 (b):Melody in a Minor key

You are to write the following melody in the key of B minor. The melody will be played through once, then the first phrase will be played twice and the second phrase twice. Finally the whole melody will be played right through once again. Write the treble clef and the key signature of B minor.

(

The melody is in 8 time. Write the time signature now.

(Silence: 10 seconds)

The melody begins on the last beat of the bar. Here is the dotted crotchet pulse.

(Pause: 2 seconds)

Here is the tonic chord of B major and the key note followed by the whole melody.

(Pause: 2 seconds)

(Silence: 10 seconds)

And now, here is the tonic chord and key-note again followed by the first phrase

(Silence: 40 seconds)

Here is the first phrase again.

(Silence: 40 seconds)

Now. here is the keynote and the second phrase.

(Silence: 40 seconds)

Here is the first phrase again.

(Silence: 40 seconds)

Now, here is the keynote and the second phrase.

(Silence: 40 seconds)

Finally, here is the tonic chord followed by the whole melody.

(Silence: 60 seconds)

TEST 3: INTERVALS

Two intervals will be sounded harmonically. Each interval will be sounded twice. You are to describe each of the intervals.

(Pause: 2 seconds)

TEST 4: CADENCES

There are four cadences in this passage which will be played with a pause at each cadential point. You are required to name the cadences in the order in which they occur in the passage.

Here is the tonic chord followed by the first play through.

(Pause: 2 seconds)

(Silence: 15 seconds)

Here is the second play through

(Silence: 15 seconds)

Here is the third play through

(Silence: 15 seconds)

And finally, the fourth and last play through

(Silence: 20 seconds)

TEST FIVE: MODULATION

Test 5 (a) The following melody is in the key of G Major. It modulates once away from the tonic key. You are required to name the key to which the melody modulates before returning to the tonic. The melody will be played three times.

Here is the tonic chord of G Major followed by the first play through.

(Pause: 2 seconds)

(Silence: 15 seconds)

Here is the second play through

(Silence: 15 seconds)

And now, the third and final play through

(Silence: 30 seconds)

Test 5 (b) The following melody is in the key of G Minor. The melody modulates once away from the tonic key. You are required to name the key to which the melody modulates before retuming to the tonic. The melody will be played three times. Here is the tonic chord of G Minor followed by the first play through.

(Pause: 2 seconds)

(Silence: 15 seconds)

Here is the second play through

(Silence: 15 seconds)

And now, the third and final play through

(Silence: 30 seconds)

That is the end of the Aural Tests of the Kenya Certificate of Secondary Education Music examination

You now have three minutes in which to check your answers before handing in your paper.

4.10.2 Music Paper 3 (511/3)

Answer questions from all sections.

SECTION A: BASIC SKILLS (32 marks)

1. Either (a) Continue the following opening to make a melody of sixteen bars for voice introducing modulation to the subdominant and then back to the tonic. Incorporate dotted rhythm and add phrase marks. (12 marks)

Or (b) Using staff notation, compose a melody and set to it the lyrics below. (12 marks)

U jinga kitu kibaya,

heri kumeza mchanga

Ujinga kwa mwanadamu,

si mwendo mwema ujinga.

2. Harmonize the following for Soprano,Alt0, Tenor and Bass (SATB). Choose appropriate chords from the following: l, ll, IV, V and Vl. Make use of the passing note in bar 2. (20 marks)

SECTION B: HISTORY AND ANALYSIS (48 marks)

3. AFRICAN MUSIC

(a) (i) What is an idiophone? (l mark)

(ii) Name two Kenyan traditional melodic idiophones. (l mark)

(iii) State how each of the instruments named above is played. (2 marks)

(iv) Apart from idiophones, name any other two classes of instruments. (2 marks)

(b) Explain two reasons why music is important in the traditional circumcision ceremony. (4 marks)

..............................

(c) Name the instrument played by each of the following Kenyan traditional musicians.(4 marks)

(i) Swaleh Mwatela;

..............................

(ii) David Mwangi;

..............................

(iii) Ogola Opot;

..............................

(iv) William Ingosi.

..............................

4. WESTERN MUSIC

Answer any two of the following questions (a), (b), (c) and (d)

(a) Thomas Morley

(i) In which period of music history did Thomas Morley live? (l mark)

(ii) What is madrigal? (2 marks)

(iii) Give the title of the collection of madri gals compiled by Morley in praise of Queen Elizabeth l. ( l mark)

(iv) Outline any three characteristics of Thomas Morley’s Ballets. (3 marks)

(b) Antonio Vivaldi

(i) For which institution did Vivaldi work for most of his career? (1 mark)

(ii) Outline any two of his duties at the institution. (2 marks)

(iii) Give four sources that influenced Vivaldi’s musical career. (4 marks)

(c) Ludwig Van Beethoven

(i) What type of work is Fidelio? (1 mark)

(ii) For what medium did Beethoven compose the 9"‘ symphony? (1 mark)

(iii) Name the masses composed by Beethoven. (2 marks)

(iv) Outline three ways through which Beethoven earned a living as a freelance musician in Vienna. (3 marks)

(d) Igor Stravinsky

(i) State Stravinsky’s nationality? (1 mark)

(ii) What type of work is “The Risen of Spring”? (1 mark)

(iii) Give any two reasons that caused a riot during the first performance of “The Risen of Spring”? (2 marks)

(iv) Outline any three features that characterize Stravinsky’s music in terms of tone colour.(3 marks)

5. PRESCRIBED AFRICAN TRADITIONAL MUSIC

Teso Folksong - From /Ngoma za Kenya. PPMC Recording

This performance consists of an introduction and four sections.

(a) Describe the introductory section in terms of voices and instrumentation. (2 marks)

(b) Give two characteristic features that mark the various sections in the performance.(2 marks)

(c) Outline four characteristic features of the singing style in the performance. (4 marks)

(d) State two roles of the instruments in the performance. (2 marks)

6. PRESCRIBED WESTERN MUSIC

Sonara in F minor Q02 /V0.1 - 1st movement - Ludwig van Beethoven

(a) (i) In what form is the movement? (1 mark)

(ii) Describe the form in terms of the statement of the theme and the key system. Use bar numbers for reference. (6 marks)

(b) Describe the texture of the music from bars 146 - 152. (1 mark)

(c) With reference to bar numbers identify:

(i) scalic movement; (l mark)

(ii) a trill. (1 mark)

SECTION C: GENERAL MUSIC KNOWLEDGE (20 marks)

7. (a) State the meaning of each of the following terms:

(i)Unison; (l mark)

(ii)Discord; (l mark)

(iii)Contralto; (l mark)

(iv)Tutti; (l mark)

(v)Score. (l mark)

(b) (i) Explain two differences between a harp and a lyre. (4 marks)

(ii) Name a Kenyan traditional harp. (1 mark)

(c) The concertmaster is an important member of the orchestra.

(i) Name the instrument he plays. (1 mark)

(ii) Where is he/she positioned in the sitting arrangement of the orchestra?(1 mark)

(iii) State two of his duties in the orchestra. (2 marks)

(d) Write the following music in staff notation. (6 marks)

5.10 MUSIC (511)

5.10.1 Music Paper 2 (511/2)

1. RHYTHM ON MONOTONE

(a) DRUM RHYTHM

l mark for each correct bar (correct note values)(2 marks)

1 mark for correct time signature (1 mark)

½ mark for correct placed bar line ( ½ mark)

½ mark for bar lines (mark as a whole) ( ½ mark)

Total = (4 marks)

Award full marks (4) for correct rhythm without bar lines For wrong time signature, penalize time signature and bar lines then treat rhythm (note values) as bars and award.

(b) RHYTHM OF A MELODY IN SIMPLE TIME

1 mark for each correct bar (correct note values) (4 marks)

1 mark for correct time signature (l mark)

½ mark for correct grouping (per bar) (2 marks)

½ mark for bar lines (mark as a whole) (l_mark_)

Total = (8 marks)

(c) RHYTHM OF A MELODY IN COMPOUND TIME

1 mark for each correct bar (correct note values) (2 marks)

1 mark for correct time signature (1 mark)

½ mark for correct placed bar lines (5 bar lines) (2 ½ marks)

½ mark

Total = (8 marks)

2. MELODY

(a) Melody in a major key.

½ mark for each correct note (pitch and value) (8 marks)

Correct key signature (l mark)

Time signature (½ mark)

Total = (10 marks)

Deduct ½ mark per bar for wrong not values.

All pitches correct with wrong values - award ½ of the total marks - 4 marks

(b) Melody in a minor key.

1/2 mark for each correct note (pitch and value) 17 notes (8 ½ marks)

Correct key signature (1 mark)

Time signature (½ mark)

Total = (10 marks)

3. INTERVALS

(i) Major 3rd (1 ½ marks)

(ii) Perfect Octave (l½ marks)

Total = (3 marks)

4. CADENCES

(i) Interrupted (1 mark)

(ii)Imperfect (1 mark)

(iii)Plagal (1 mark)

(iv)Perfect(1 mark)

Total = (4 marks)

5. MODULATION

(a)

Total = (3 marks)

5.10.2 Music Paper 3

SECTION A: BASIC SKILLS (32 MARKS)

l. (a) 16 bar melody (1 mark)

Modulation -well established to the subdominant and back to the tonic (2 marks)

Cadences (Any 2 including final one)(2 marks)

Lyn'cism - movement by steps andsingable leaps (2 marks)

Melodic shape & curve (2 marks)

Phrase marks (1 mark)

Variety of rhythm including dotted notes in conformity with the melody(2 marks)

TOTAL (12 marks)

(b) Syllabic division (2 marks) (½ mark for each line)

Text setting to music (2 marks) (½ mark for each line)

Melodic shape and curve (2 marks)

Lyricism (Singability) (2 marks)

Variety of rhythm and conformity (1 mark)

Cadences (2 including the final one) (2 marks)

Dynamics (1 mark)

TOTAL (12 marks)

2. ½ mark each for correct chord (6 marks)

1 mark for each cadence (2 marks)

Voice leading - 1 mark for each voice (ATB) (3 marks)

Voice range (Mark as a whole) (1 mark)

Proper use of 6/4 (2 marks)

Passing note (l mark)

Progression (5 marks) (Maximum)

Deduct marks for each of the following faults:-

Parallel Octaves (l mark each)

Consecutive 5ths (1 mark each)

Spacing (1 mark each)

Overlapping (1 mark each)

Unison to Octave and vice versa (1 mark)

Doubled 3rd in Primary triads (1 mark)

Exposed 5ths and 8evs

Octaves to 5ths and vice versa

Unison to 5ths and vice versa

Wrong direction of stems (mark as a whole)1 mark)

TOTAL (20 marks)

SECTION B: HISTORY AND ANALYSIS (48 MARKS)

AFRICAN MUSIC

3 (a)

(i) Self sounding instrument 1 mark

(ii) Marimba Adongo/Dongo ½ mark

(iii) Marimba - played by stroking/hitting the slabs/bars ½ mark

Adongo/Dongo - Played by plucking the lamellae 1 mark

(iv) Chordophones 1 mark

Membransphones

Aerophones.

1 mark each for any 2 correct classes

2 marks

(b) Music encourages the initiates to be brave.

Music psychs the candidates to face the initiation bravely.

The songs educate the initiates on the importance of circumcision.

Songs are used in educating the initiates on adult life.

Entertaining the initiates, their parents and those in attendance.

2 marks each for any 2 relevant reasons

(c) (i) Swaleh Mwatela - Mabumbumbu, Mchirima, and Chapuo

(ii) David Mwangi - Wandindi

(iii) Ogola Opot - Nyatiti

(iv) William Ingosi - Ishiriri.

l mark for each correct instrument.

4. WESTERN MUSIC

(a) THOMAS MORLEY

(i) Renaissance 1 mark

(ii) A type of secular vocal music composition, polyphonic and unaccompanied with number of voices varying from three to six 2 marks

(iii) The triumphs of Oriana. 1 mark

(iv) Mostly homophonic in texture. 1 mark

Melody in the highest voice.

Same music repeated for each verse/stanza/strophic.

Syllables fa-la-la used as refrain.

Written in dance like metre.

1 mark each for any three correct points 3 marks

(b) ANTONIO VIVALDI

(i) Conservatorio dell’ospedale della pieta 1 mark

(ii) - music director

- Teacher of music

- Conductor of performances

— Composer of music.

l mark each for any 2 relevant points 2 marks

(iii) - Father was the leading violinist of St. Mark’s Chapel.

- He received education in music.

- He received education in priesthood.

- Extensive travels, composing and conducting operas throughout Italy and Europe.

- Religious background.

- Violin lessons in orchestra at St. Mark’s Cathedral.

l mark each for any 4 relevant points 4 marks

(c) LUDWIG VAN BEETHOVEN

(i) Opera 1 mark

(ii) Solo voice, chorus and orchestra 1 mark

(iii) Mass in C Major l mark

Mass in D major - Missa Solemnis l mark

(iv) - Giving piano lessons.

- selling his compositions to publishers

- commissions from some members of the nobility (Aristocrat patrons)

- performance as a pianist.

1 mark each for any 3 relevant points. 3 marks

(d) IGOR STRAVINSKY

(i) Russian 1 mark

(ii) Ballet 1 mark

(iii) - The bitting dissonance/harsh sounds;

- Primitive repetitions of sort motives;

- Pagan evocative obscene rites;

- Savage and pounding rhythms;

- completely new orchestra! sounds;

- Strange rhythms with constantly changing time signatures/wild rhythms;

- Intentional brutal polyrhythms.

1 mark each for any 2 relevant points. 2 marks

(iv) - Tone colours tends to be dry and clear.

— Scored for unconventional groups of instruments;

- Highly contrasting tones on offer combined;

- Instruments play in unusual registers;

- Percussion instruments given solo roles;

- Large ochestral works are programme.

1 mark each for any three relevant points. 3 marks

5. PRESCRIBED AFRICAN TRADITIONAL MUSIC

Teso folksong - From Ngoma za Kenya. PPMC Recording.

(a) Voices: ululation from female voices and interjections from male and female voices. l mark

Instruments: Drums came in after ululation followed by jingles. l mark

(b) - Melodic changes/variations.

- Ululation.

1 mark for each correct point. 2 marks

(c) - Solo - chorus

- Singing by mixed voices

- Solo by female and chorus from mixed female voices.

- Solo by female voice and chorus from female voices

- Chorus repeats solo exactly

- Chorus repeats solo with variation.

1 mark each for any 4 correct points. (4 marks)

(d) - Maintaining the rhythm of the music

- Setting and keeping the tempo

- Providing interludes between the sections

- Supporting the chorus response through rhythmic variations.

- Enrich the performance.

l mark each for any 2 relevant roles. (2 marks)

6. PRESCRIBED WESTERN MUSIC SET WORK

Sonata in F minor Op.2 No.1 - 1*‘ movement by Ludwig Van Beethoren

(a) (i) Sonata - Allegro forrn/Sonata form/First-Movement form.

1 mark for any correct response. (1 mark)

(ii) Exposition: 1“ subject (F minor) bars l - 8

Transition Bars 9 - 20

2nd Subject (C minor) Bars 21 - 40

Codetta Bars 41 - 48

Development: (Bars 48 - 100)

1st subject material (Ab major) Bars 48 - 55

2nd subject material (Bb major) Bar 56

(C minor) Bar 64

(Bb Minor) Bar 70 - 71

(Ahminor) Bar 73 - 74

(C minor) Bars 8l - 100

Recapitulation (Bars 101 - 152)

1*‘ subject (F minor) Bars 101 - I19

2"" subject (F minor) Bars 119 - 140

Cadette Bars 140 - 145

Coda Bars 146 - 152 (F minor)

2 marks each for correct description of each of the three sections (Key and Bar number) Total 6 marks

(b) Homophonic/homophony/chordal l mark

(c) (i) Scalic movement: Bars 33-34, 37 - 40, 132 - 133, 136 - 138

l mark for any one correct bar 1 mark

(ii) Trill: Bars 85, 86, 87

1 mark for any one correct bar l mark

SECTION C: GENERAL MUSIC KNOWLEDGE (20 MARKS)

7. (a) (i) Unison: Simultaneous performance of the same notes or melody by various instruments/voices at exactly the same pitch or at a different octave. l mark

(ii) Discord: Combination of sounds not satisfactory or finished in itself requiring to be followed by a resolution. l mark

(ii) Contralto: The lowest female voice 1 mark

(iv) Tutti: All the performers 1 mark

(v) Score: Music printed in such a way as to show the whole of the composition. 1 mark

(b) (i) - A harp has an archedarm whereas a lyre has two arms connected by a cross

-The strings of a harp are connected to the arched arm while those of a lyre are connected to the crossbar.

- The strings of the harp run at an angle to the resonator whereas the lyre‘s strings run horizontal/parallel to the resonator.

2 marks each for any two relevant explanations. 4 marks

(ii) Adeudeu l mark

(c) (i) Violin

(ii) In front of the orchestra on the conductor's left. 1 mark

(iii) - Pitches the orchestral instruments from the violin. l mark

- Tuning of the instruments before the concert and rehearsals.

- Controls the performances during rehearsals/practice.

- Co-ordinates with/consults conductor regarding extent of practice/rehearsals of the orchestra.

- Plays the solo if written for his/her instrument.

- Leader of the violin section/1*‘ violin.

- Assistant conductor.

- Consults with the conductor.

- Technical manager in the orchestra.

l mark each for any two correct duties. 2 marks

(d)

½ mark for each correct note pitch and value 5 marks

½ mark for correct key signature ½ marks

½ mark for correct placement of time signature ½ marks

6 marks

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