511- MUSIC
GENERAL OBJECTIVES
By the of the course, the learners should be able to;-
1. read and write music;
2, use musical instruments, costumes and decorations;
3. express own ideas, emotions and experiences through composing music and dance;
4. appreciate and contribute to development of different types of music;
5. acquire a sense of co-operation by participating in musical activities;
6. promote and enhance national unity by identifying through exploration, appreciation and performance of indigenous music from all parts of Kenya;
7. contribute to the world of music through study and participate in the country’s
music and that of other nations;
8. use acquired music skills for his/her well being and others in society;
9. use music to acquire better mental and physical health;
10. compose music to educate society on issues affecting them;
11. perform and enjoy song, deince and instrumental music;
12. develop/improve own creative skills/talents through the composition of music and
dance.
1.0.0 BASIC SKILLS
By the end of the topic, the learner should be able to:
(a) sight read music;
(b) sight sing music;
(c) translate music from staff to solfa notation and vice versa;
(d) transpose music;
(e) compose melodies;
(f) interpret pitch, rhythm, terms and signs;
(g) compose rhythms;
(h) harmonize melodies melodies;
(i) compose melodies for given lyrics.
1.2.0 Content
1.2.1 Time
(i) Note values and
223463963 12
(ii) Time signatures: 424488842 8
(iii) Grouping of notes and rests
1.2.2 Melody: All major and minor keys, solfa notation, transposition. Terms and Signs
ornaments, modulation, writing a melody of up to 16 beirs and writing melodies to
given lyrics.
1.2.3 Harmony: S. A. T. B.
1.2.4 Aurals
2 23463963 12
(i) Rhythms in: 424488842 8
incorporating triplets, duplets and syncopation.
(ii) Melody in major and minor keys and modulation to related keys.
(iii) Harmonic intervals: – major, minor and perfect.
(iv) Cadences:- Perfect, plagal, imperfect and interrupted cadences in major
and minor keys.
2.0.0 HISTORY AND ANALYSIS
2.1.0 Specific Objectives
By the end of the topic, the learner should be able to;
(a) analyse different types of music;
(b) appreciate different types of music;
(c) trace the growth of music from Renaissance to the 20’*’ century period;
(d) trace the development of African music since 1900.
2.2.0 Content
2.2.1 History
(i) African Music: Traditional and contemporary vocal music: A study of
membranophones idiophones, aerophones and chordophones
A study of instrumental music of Kenya.
Study the growth of traditional and contemporary vocal music of Kenya
(ii) Western music: Growth of music from Renaissance to 20*” century.
(iii) Oriental music.
2.2.2 Analysis:
Analysis of vocal and instrumental music selected from any two of the following:-
African music: Traditional and contemporary
Western music
Oriental music.
3.0.0 PRACTICALS
3.1.0 Specific Objectives
By the end of the topic, the learner should be able to:
(a) perform a variety of songs and dances;
(b) develop and maintain a sense of self discipline and co-ordination in a musical performance;
(c) acquire and display proficiency in musical performance;
(d) develop an appreciation of folk music;
(e) play a musical instrument;
(Q organize and participate in music making activities
(g) enhance growth of music through positive contribution in composition performance and research;
(h) develop respect for and positive reaction to other peoples’ cultures;
(i) pursue music as a profession;
0) develop and display sense of rhythm and pitch.
Content
3.2.1 Performance of any two items each selected from £iny two of the following sections;
• African (voice, dance and instrument)
• Western (voice, woodwind, keyboard, string, brass and percussion).
• Oriental (string, wind and percussion)
4.0.0 GENERAL MUSIC KNOWLEDGE
4.1.0 Specific Objectives
By the end of the topic, the learner should be able to:
(a) compare songs, dances and instruments in traditional, popular and
contemporary styles;
(b) collect and preserve traditional songs, dances and musical instruments;
(c) make use of the existing music industry.
(d) explain musical forms;
(e) describe types of musical instruments;
(f) define musical terms;
(g) study the factors that bring about changes in musical styles;
(h) analyse unprepared musical works.
4.2.0 Content
4.2.1 Field work;- collecting folk songs and dances, collecting musical instruments and
composing songs and dances, visits to and/or participation in national days, cultural
festivals, music centres and recording industries.
4.2.2 Score reading
4.2.3 The orchestra of the Classical and Romantic orchestra.
4.2.4 African instruments that are often played together in a musical performance
4.2.5 Forms:- Binary, Ternary, Rondo, Theme and Variation, Minuet and Trio and
polyphonic forms.
5.0.0 PRESCRIBED WORKS FOR 2008 AND 2009
Composers – candidates will be expected to study the following composers and their works.
(a) Prescribed composers for 2008
(i) Renaissance – Byrd William
(ii) Baroque – Handel George Frideric
(iii) Classical – Haydn, Franz Joseph
(iv) 20’*’ Century – Vaughan Williams, Ralph
(b) Prescribed Composer for 2009
(i) Renaissance – Claudio Monteverdi
(ii) Baroque – Rameau Jean – Philippe
(iii) Classical – Gluck, christoph Willibald
(iv) Romantic – Johnnes Brahms
(c) Prescribed African music analysis: Candidates will be reqmred to study
Prescribed African music from the Kenya Music Festival Recording as shown
below:-
2008; Gusii Folksong by Nyangage Primary School
2009; Mserigo by Likoni Primary School.
(d) Prescribed Western music Analysis:-
Candidates will be required to study prescribed Western Music as shown below:
2009: MozEirt W. A.: Symphony No. 40 in G Minor K550
2008; Henry Purcell: Dido and Aeneas. End of Act 11(1689)
NB: The recordings for prescribed African and Western music are available at the Kenya Institute of Education.
6.0.0 PRACTICAL EXAMINATIONS
6.1.0 Paper 511/1
The candidate will be required to perform before a
Panel of examiners. The candidate’s performance will take a duration of
10 minutes. The practical performance will consist of an African piece/
Oriental piece, a Western set piece, technical exercises and sight reading as
explained below:-
(a) AFRICAN TRADITIONAL/ORIENTAL MUSIC: The candidate
will be required to prepare and perform one item of his/her own choice
from any one of the following categories:
• Folk song
• Cultural Group Dance
• String instrument
• Melodic Wind Instrument
• Melodic Idiophone
• Dram-set
(b) WESTERN MUSIC
The candidate should select one piece from either in voice of
instrument from the choices given below. In each case, two pieces will
be set for the candidate to choose one.
NB: The recordings for prescribed African and Western Music are
available at the Kenya Institute ofEducation.
Set Pieces For 2008
(a) Voice: The candidate should select a piece from only one of the voices.
Soprano: (i) Giovarmi Pergolesi: Nina, (Key B Flat Major)
(ii) Giovanni Bottista Bononcini: For the Love My heart doth prize
Alto: (i) G. F. Handel: Sweet Contentment (Key – F Major).
(ii) L. Van Beethoven: I Love thee
Tenor: (i) T. A. Ame: Water Parted (Key – F Major)
(ii) Cyril Winn: Song of the Music Makers
Bass: (i) Arthur Somervell: The Gentle Maiden (Key – F Major)
(ii) T. A. Ame: Why so pale and wan, Fond Lover.
(b) Instruments: Each candidate presenting instrument should select one piece from
only one instrument area.
(ii) Pietro Localelli: Minuetto
Clarinet:
Saxophone (Aito)E”:
Trumpet/Comet:
Trombone/Euphonuium:
Tuba:
Guitar:
Viola;
Piano:
(i) G. Braga: Angel’s Serenade (Key: F. Major).
(ii) Muchael Rose: Song and Dance
(i) I. V. Weise: Landonderry Air.
(ii) Jacques Offenbach: Barkarole.
(i) Giusseppe Giordani: Dearest, Believe (Caro mio ben)
in B.
(ii) Allan Haughton: Dance.
(i) A. Halbome: The Fruits of Love.
(ii) F. Mendelssohn: Song without words
(i) W. A. Mozart: II Marche. (ii) J. B. Lully: Gavotte.
(i) F. Carulli: Moderato. (ii) Peter J. Harris:
(ii) The Ashgroove.
(i) Andrew: Lullaby.
(ii) W. A. Mozart: Deuscher Tanz (Germcin Dancer).
(i) Beethoven: Allemande in A.
(ii) J. C.F. Bach: Polonaise
NB: The above set pieces are available at the Kenya Institute ofEducation.
Set Pieces For 2009
(a) Voice:
Soprano:
Alto:
Tenor:
The candidate should choose a piece from only one of the
Areas
(i) Giovanni, Battista Bononcini:
Per La Gloria d’adorarui, For the Love my heart doth
Prize. (Key A major)
(ii) Henry Purcell: I attempt from Love’s sickness to fly
(Key A major)
(i) L. Van Beethoven: I Love thee
(ii) Dr. Baker am Rhein: Sunday on the Rhine.
(i) Cyril Winn: Song of the music makers (Key A major)
(ii) G. F. Handel: Lascia Chio Pianga
Bass: (i) T. A. Ame; Why so pale and wan. Fond Lover
(ii) Semele; Leave me. Loathsome light.
Instruments: The candidate should choose only one set piece from
instrument area:
Descant recorder:
(i) Jean Baptistc locitet: Sarabanda
(ii) George Phillipp Telemann: Siciliana
Treble recorder:
(i) Michael Praetorious; Bransles De La royne II
(ii) Raphael Counterille: Largo (from sonata in C).
Tenor recorder;
(i) Patrick Enfield: Horn Pipe
(ii) Benjamin Britten: Waltz Variation-
Bass recorder: (i) G. P. Telemann: Carilon.
(ii) G. P. Telemann: Polonise.
Flute: (i) Pietro Locatelli: Minuetto
(ii) G. F. Hiindel: Bourree
Clarinet(B?): (i) Michael Rose: Berceuse
(ii) Allan Rose: Song and Dance
Saxophone(Alto) F?:
(i) Jacques Offenbach: Barkaroie
(ii) George Geshwin: I got Rhythm
Trumpet(B”)/Comet:
(i) Allan Haughton: Danse
(ii) Allan Haughton: Little Girl.
Trombone/Euphonium:
(i) F. Mendelssohn: Song without words
(ii) Pamela Wedewood: Tequila sunrise
Horn: (i) Michael Rose: Ballade
(ii) Michael Rose: Scherzo
Violin: (i) Correli OP 5 No.8: Preludio from Sonata in E. mi
(ii) Herbert Kinsey: Pastorale
Tuba: (i) W. A. Mozart: II Marche
(ii) Jean B. Lully: Gavotte.
Guitar:
Viola:
Cello;
Piano:
(i) F. Cumlli: Moderato
(ii) Peter J. Harris; The Ashgroove
(i) Alfred Moffat: Sarabande
(ii) H.Purcell; Air,
(i) Andrew; Lullaby.
(ii) W.A. Mozart: Deuscher Tanz (German Dance).
(i) J.C.F. Bach: Polonaise
(ii) William Alwyn Light; No.4 of odd moments.
NB: The above set pieces are available at the Kenya Institute ofEducation.
c) TECHNICAL EXERCISES
All candidates presenting voice and recorder will be required to prepare and perform the
following technical exercises which may be transposed to keys convenient to the performer
as part of the examination:
Voice and Recorder (descant and treble)
(i)
To be sung to any vowel sound.
(ii) EITHER
OR
To be sung to any vowel sound.
Piano
The candidate will be required to prepare and perform the following scales and arpeggios.
(i) Scales: two octaves with both hands an octave apart in similar motion,
ascending and descending in the following keys:
Major Keys C,G,D,A,F,B?E?A”
Minor Keys A,E,D,G,F”,C
(ii) Arpeggios will be played in the keys given above but should be played
with hands separately and with both hands together.
(iii) Scales in contrary motion 2 octaves only on C major
(iv) Chromatic scale hands separately starting on C and 2 octaves.
Woodwind, Brass and Strings
The candidates will be required to prepare and perform the following scales and arpeggios as
part of the examination:
C,G,F,D3?E?A,A”
a,e,g,d,b,c,f
The scales should be played to the 9?”• ascending and descending two times. The first time
loud (f) second time soft (p).
Arpeggios – For all the scales suggested above, these should be played to the
lO”‘ of the scale first time loud (f) second time soft (p).
Sequence – This should be done in any key chosen by the candidate
Guitar
Scales and Arpeggios
The candidate will be required to prepare and perform the following scales and arpeggios as
part of the examination:
(i) Scales
(ii) Arpeggios
(d) SIGHT SINGING/READING
The candidate will be required to sing or play at sight an unprepared piece of music of the
standard of the set sample.
Sample exercises
Voice:
(i)
(ii)
Piano
(i)
(ii)
Con moto
Tempo lie valst
Handel
Scluihcrl
Woodwind Brass and Strings:
Each instrument has its own range ofnotes within which it can play
The sample below illustrates the average difficulty level.
Moderato
6.2.0 PAPER 511/2
This examination will be conducted in an examination room. It pre-recordcd
cassette to be played on a cassette player. There will be five compatsory tests. Manuscript
paper will be provided for answering the tests. For each test, the examiner will give
instructions on the procedure.
TEST ONE: RHYTHM ON MONOTONE
The candidate will be required to demonstrate skill in recognition of note values, grouping
notes and time. Where the passage is anacrusic, this will be stated. The test will consist of
three parts each of which will be played four times. The three parts are as follows;
(a) A repetitive rhythmic pattern of up to four bars will be played on a drum. The
cancUdate will be required to write the rhythm on monotone and insert the time
signature and bar lines. The pulse will be stated at the beginning.
(b) A passage of 4 to 8 bars in simple time will be played on a melodic instrument. The
candidate will be required to write the rhythm on monotone and insert the time
signature and bar lines. The pulse will be stated at the beginning.
(c) A passage of 4 to 8 bars in compound time will be played on a melodic instrument.
The candidate will be required to write the rhythm on monotone and insert the time
signature and bar lines. The pulse will be stated at the beginning.
TEST TWO; MELODY
The candidate will be required to demonstrate skill in note values, pitch, key and time
signature. The test will consist of two melodies, (a) and (b), each of which will be played four
times. The two melodies each of up to eight bars in simple or compound time will be played.
The clef, key and pulse will be stated at the beginning of each melody. The tonic chord and
the tonic will be sounded. Where a melody has an anacrusic beginning this will also be
stated. The candidate will be required to insert the key and time signature and then write each
melody. The two melodies will be as follows:
(a) A melody in a major key
(b) A melody in a minor key.
TEST THREE: INTERVALS
The candidate will be required to demonstrate skill in recognising an interval of two notes
played harmonically. Two intervals will be sounded. The candidate will be required to
describe each interval as major, minor or perfect. Each interval will be played twice.
TEST FOUR: CADENCES
The candidate will be required to demonstrate skill in recognising cadences as imperfect,
interrupted, plagal and perfect contained in a passage played harmonically in a major or minor
key. The passage will be played four times with a pause at each cadential point. The
candidate will be required to name the cadences in the order in which they occur. In each
passage four cadences will be tested.
TEST FIVE: MODULATION:
The candidate will be required to demonstrate skill in recognising and naming modulation to
closely related keys.
The test will be as follows:
Two melodies each of up to 16 bars will be played. Each melody will modulate to a closely
related key before returning to the tonic. Each melody will be played three times. The
candidate will be required to name the key to which each melody modulates before returning
to the tonic. For each melody the key note will be sounded at the beginning.
6.3.0 511/3 MUSIC (WRITTEN PAPER)
This paper shall consist of 7 compulsory questions distributed in 3 sections as shown below:
SECTION A: BASIC SKILLS
Q. 1. Melody
Q. 2. Harmony
SECTION B: HISTORY AND ANALYSIS
Q. 3. African Music; Four structured questions
Q. 4. Western Music: Four essay questions based on four composers out of which
candidates will answer two
Q. 5. Prescribed African Music
Q. 6. Prescribed Western Music
SECTION C: GENERAL MUSIC KNOWLEDGE
Q. Four structured questions on general music knowledge.
(ii) SECTION A: BASIC SKILLS
(a) Melody Writing; This will test Either (a) completing a melody of up to 8
to 16 bars the beginning of which is given Or (b) Writing a melody to given
words. In each case the candidate will be required Jo demonstrate knowledge of
and skills in all or any of the following;-
¦ grouping of notes,
¦ note values and rests,
¦ sequence,
¦ modulation to closely related keys and back to the tonic,
(b) Harmony
Harmony for unaccompanied voices (S.A.T.B) in either major or minor key.
This will test the candidate’s knowledge, understanding and skills in
harmonic progression, cadences voice leading in S.A.T.B to a given
melody by using: Chords 1 11 IV and VI and their inversions in major and
minor keys.
SECTION B: HISTORY AND ANALYSIS
(a) African Music:
This will test the candidate’s knowledge of all or any of the following:-
Performances:- Organisation, role of the performer, preparation of
performance performing, leader, an ensemble of instruments, analysis of
African music.
Instruments;- Distribution, description and playing methods and performance.
The candidate will be required to answer all the 4 structured questions set.
(b) Western Music:
This year 4 composers will be selected and questions set. Each of the
composers will represent a different historical period. Questions will test the
candidate’s knowledge of or any of the following:
¦ composers and their contributions,
¦ instrumental music,
¦ vocal music
¦ Form.
NB: Candidates will be required to have studied the following composers:
(i) Renaissance: Tallis, Morley, William Byrd,
C. Moteverdi, Giovanni Palestrina,
(ii) Baroque:
(iii) Classical:
(iv) Romantic:
Rameau, J.S. Bach, A. Scarlatti, G. F. Handle,
Henry Purcell, Antonio Vivaldi.
Joseph Haydn, Gluck, C. P.E. Bach, W. A. Mozart,
Ludwig Van Beethoven.
F. Schubert, Chopin, Franz Liszt, Brahms,
Tchaikovsky, Dvorak, Elgar, Felix Mendelssohn,
Richard Wagner.
(v) 20 Century: Debussy, Sibelius, Vaughan Williams, Schoenberg,
Stravinsky, Prokofief, Copland, Benjamin Britten,
B, Batok.
(iv) PRESCRIBED AFRICAN MUSIC:
This will test the candidate’s knowledge of and skills in all or any of the following:
Instrumentation,
– form,
rhythmic and melodic structure
phrasing
style
A recording of the prescribed African music will be made available for study
each year.
(v) PRESCRIBED WESTERN MUSIC
This will test the candidate’s knowledge of and skills in all or any of the following:-
form, orchestration, rhythmic structure, phrasing, modulation, cadences, transposition,
clefs, ornaments and terms and signs.
NB: – A recording of the prescribed western music together with the score will be made
available for study each year. Only one movement will be prescribed. The school
is required to ensure that each candidate is provided with a clean unmarked score
for use in the examination. Supervisors are requested to ensure that the scores
have no additional marks or notes other than bar numbers and any other marks
made by the publishers.
SECTION C: GENERAL MUSICAL KNOWLEDGE
This will test the general knowledge of and skills in all or any of the following;-
¦ African;- instruments, folk songs, costumes, make up and folk dances.
¦ Western:- instruments, voice and ornaments
¦ Music in society
¦ Music Industry
There will be four structured questions and the candidate will be required to answer all of
them.
