Confidential

MUSIC

1. 
   16 bars (1 mark)
   

Modulation (2 marks)

Lyricism (2 marks)

Triplet (2 mark)

Melodic Shape and curve (1 mark)

Rhythm (1 mark)

Phrase Marks (1 mark)

Total 12 marks

2. 
   Syllabic division (2 marks) (1 mark per line)
   

Rhythm (2 marks)

Melodic shape and curve (2 marks)

Lyricism (2 marks)

Cadences (2 marks)

Total 12 marks


Question 2

1marks for each correct chord (9 marks)

1 mark for each cadence (2 marks)

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

Range (mark as a whole) (1 mark)

Progression (5 marks)

Consecutive 5^ths and parallel 8ves (1 mark each)

Overlapping of parts (1 mark each)

Crossing of parts (1 mark each)

Spacing in inner parts (1 mark each)

Exposed 5ths or 8ves (1 mark each)

Doubled 3rds in primary triads (1 mark each)

Wrong use of 2^nd inversion chords (1 mark each)

Wrong note values (1 mark each)

Stems (mark as a whole) (1 mark each)

(a) (4 marks)

1. 
   Muumburo -Kikuyu, Initiation/ Circumcision
   
2. 
   Mwazindika -Taita, Healing /therapy
   
3. 
   Ribina -Abagusii, Harvesting
   
4. 
   Kamabeka -Bukusu, Entertainment
   

• 
  Tonguing
  
• 
  Fingering dexterity
  
• 
  Breath control
  
• 
  Blowing
  
• 
  Lip placement & any other relevant answer
  

• 
  Adds aesthetic value
  
• 
  Cultural identity
  
• 
  Role play
  
• 
  Identify the occasion
  
• 
  Enhances movement & any other relevant answer
  

1. 
   Mukanda -Membrano phone
   
2. 
   Adeudeu -Chordophone
   
3. 
   Auleru -Aero phone
   
4. 
   Marimba -Idiophone
   
5. 
   Mbeve -Chordophone
   
6. 
   Ebune -Aero phone
   
7. 
   Njuga -Idiophone
   
8. 
   Kalapapla -Membrano phone
   

4. 
   WESTERN MUSIC.
   

1. 
   William Byrd 1543 – 1623
   

1. 
   Name any two of Byrd’s contemporaries ( 2 marks )
   

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  Orlando Di Lassus Weelkes
  
• 
  Thomas Tallis Wilbye
  
• 
  Thomas Morley Gibbons
  
• 
  Palestrina Dowland
  

2. 
   Outline two aspects that show how Byrd worked together with his teacher ( 3 marks)
   

• 
  Joint organist at chapel royal
  
• 
  Granted monopoly to print and import foreign publications by Queen Elizabeth
  
• 
  Jointly composed a set of motets “cantiounessacrae”
  

3. 
   Give three features that characterize Byrd’s sacred music ( 2 marks )
   

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  Contrapuntal
  
• 
  Flexible rhythm/free rhythm
  
• 
  Rich complex imitative style
  
• 
  Used Cantus firmus
  
• 
  Polyphonic texture
  
• 
  Based on modes
  
• 
  Was melismatic
  

2. 
   Alessandro Scarlatti ( 1660 – 1725 )
   

1. 
   Give Alessandro’s nationality ( 1 mark )
   

• 
  Italian
  

2. 
   List two Italian cities where Alessandro alternately lived and worked as a musician ( 2 marks )
   

• 
  Rome -Naples
  
• 
  Florence
  

3. 
   Briefly state Alessandro’s contribution to development of Italian Opera ( 2 marks)
   

• 
  Performed Aria Da capo
  
• 
  Frequently used Italian Overture
  
• 
  He was the Founder of Italian opera
  

4. 
   State two ways that show relationships between Alessandro Scarlatti and Domenicco Scarlatti. ( 2 marks )
   

• 
  Domenico was Allesandros Son
  
• 
  Allesandro was Domenicos Father
  
• 
  Both belong to the same period
  

3. 
   Franz Joseph Haydn ( 1732 – 1809 )
   

1. 
   Haydn is one of the musicians who are known as “The Vienna Four”. Name the other three (3 marks)
   

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  AmedeusMorzart
  
• 
  Ludwig Van Beethoven
  
• 
  Franz Schubert
  

2. 
   Outline two ways in which Haydn developed as a composer; as a result of working for Prince Esterhazy in the country side (2 marks)
   

• 
  Inculcation of originality in Haydns Compositions
  
• 
  Readily Available instruments for which he experimented for symphonic Orchestration
  
• 
  The high demand by the prince for new music motivated Haydn as a composer to compose more
  

3. 
   Identify the following works (2 marks)
   

1. 
   The London -Symphony
   

2. 
   The Emperor -String Quartet
   

4. 
   AntoninDvora’k (1841 – 1904)
   

1. 
   Name two musicians who helped to shape Dvora’k as a composer (2 marks)
   

• 
  Smetan
  
• 
  Brahms
  

1. 
   List three roles that Dvora’k played in the development of music (3 marks)
   

• 
  Composer –used Czech folk songs and dances in his compositions e.gDumka dance.
  
• 
  Conductor- conducted his stabat mater in England-1884
  
• 
  Professor of music at praque conscervatoire-1891
  
• 
  Director concervatoire of music Newyork-1892
  
• 
  Director of praque concervatoire-1895
  

1. 
   Outline two ways that show Dvora’k as a Romantic musician (2 marks)
   

• 
  Nationalism – Inco-operation of Slavonic folksongs and dances in his music
  

• 
  Exoticism – use of negro and red Indian folk idioms in his symphony(the new world)and the chamber music eg (nigger quartet)
  

4. 
   PRESCRIBED TRADITIONAL AFRICAN MUSIC
   

1. 
   Describe the introductory section in terms of the media used. (2 marks)
   

• 
  Drumming marks the start of the section
  
• 
  Group ululation
  
• 
  Utterances in call and response
  

2. 
   Outline three characteristic features of folk song performance. (3 marks)
   

• 
  Consists of female and male singers(boys and girls)
  
• 
  Has drum accompaniment and clapping
  
• 
  Ornamented by ululations, stylistic shouts, and chanting
  
• 
  In call and response structure
  

3. 
   State three ways in which variety has been created in the performance. (3 marks)
   

• 
  Use of female and male soloists
  
• 
  Varied textual contents in both call and response
  
• 
  Use of stylistic shouts
  
• 
  Varied melodic repetition
  

4. 
   Give two ways in which climax has been achieved in the performance. (2 marks)
   

• 
  Stylistic Shouts
  
• 
  Ululation
  
• 
  Intensified clapping
  
• 
  Intensified drumming and drumming
  

1. 
   Define the following (4 marks)
   

1. 
   Codetta-Extension of the fugue subject by a short linkingpassage.
   
2. 
   Subject-musical theme: the principal theme or melodic phrase that is developed in a musical composition
   
3. 
   Counter subject-second, contrasting melody: a second theme or melodic line that contrasts with the main one in a fugue or other piece of music employing counterpoint
   

2. 
   Name three Fugal device or techniques used in the piece. (3 marks)
   

• 
  Augmentation -Stretto
  
• 
  Diminution -Retrograde Inversion
  
• 
  Inversion -Retrograde
  

3. 
   i) How long is the subject -4 bars long (1 mark)
   

4. 
   By use of bar numbers identify the following features (2 marks)
   

1. 
   Pedal point……………………………………………………………………………
   

2. 
   Sequence………………………………………………………………………………
   

a) Refer to the score extract from Blue Danube, a waltz by Johannes Strauss and answer the questions that follow.

• 
  Clarinet,
  
• 
  Bassoon,
  
• 
  Flute,
  
• 
  Oboe
  

• 
  Bassoon(bsn),
  
• 
  Double bass (cb)
  

• 
  Set pace
  
• 
  Maintain pace
  
• 
  Marks climax
  
• 
  Add tone colour to the performance
  
• 
  Makes the music more sonorous i.e. rich
  
• 
  Motivates performers
  
• 
  Contribute to prelude, interlude, and postlude/ played when singing is not on.
  
• 
  Marks the start a performance
  
• 
  Give cues to perfomers.
  

1. 
   Daudikabaka -twist
   
2. 
   Mary atieno -Gospel/ Sacred
   
3. 
   Kakaikilonzo -Rhumba /Benga
   
4. 
   Charowashutu -Gonda Dance