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6053Q3 MUSICAL ARTS SPECIMEN

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๐Ÿ“„ Exam Questions & Readable Text Transcript

Full OCR-extracted text of questions, syllabus codes, and exam instructions.

Extracted Content: 6053Q3 MUSICAL ARTS SPECIMEN

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Candidate Name Centre Number Candidate Number

ZIMBABWE SCHOOL EXAMINATIONS COUNCIL

General Certificate of Education Advanced Level

MUSICAL ARTS 6053/3

PAPER 3: Structured

SPECIMEN PAPER 3 hours

Additional materials:

TIME: 3 hours
Do not open this booklet until you are told to do so.
INSTRUCTIONS TO CANDIDATES

Write your name, Centre number and candidate number in the spaces at the top of this page.

Answer all questions in Section A. FOR EXAMINERโ€™S USE
Answer two questions from Section B and one question from

Section C. Section A

Write your answers in the spaces provided on the question

paper. Section B

INFORMATION FOR CANDIDATES

The number of marks is given in [ ] at the end of each
question or part question.

Section C

TOTAL

This question paper consists of 21 printed pages and 3 blank pages.

Copyright: Zimbabwe School Examinations Council, Specimen Paper.
ยฉZIMSEC Specimen Paper [Turn over

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SECTION A: Answer all questions.

1 Analyse core skills that a musical artist must be equipped with.

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(a)

(b)

Identify any two skills that are developed through body percussion
in a musician.

@ binary:

(iii) 4against3(4:3) 0

Name the five most suitable scale choices to create improvisations over the CA chord.

@
(i)
(iii)
(iv)
v)

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With reference to African music performances, explain the following terms giving examples.

(a) Sacred music

(b) Secularmusic eee

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(ยฉ) Extemporisation

(d) Choreography

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i) Artistic expression

wo [4]
[Total: 20]

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Section B [ 40 marks] Answer any two questions.

Zimbabwean indigenous musical arts are very expressive. Briefly discuss Mhande as
guided below:

(a) โ€˜Participants

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ยฉ

(d)

Instruments and props

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(e)

ยฎ

Choreography
a [4]
Examples of Song titles
oe [2]

(Total: 20]
Name 5 performance directions that are suitable for protest songs.

Mo.

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(b)

10

Choose one 2โ„ข Chimurenga song and analyse the song showing

(1) role of the song,

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11

(iii) โ€”_ relevance of the song to the period,

(iv) form of the song,

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7

@

12

(v) rhythm of the song.

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Given below are some sacred and secular performance practices which form roots of
all A frican Indigenous songs.

(1) Briefly explain the purpose of each,
di name any one song related to the traditional function in (i).
(a) Nhimbe/Humwe/Hoka/Illima

@ Purpose

di Song title

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(b) Kurova guva/Umbuyiso/Chenura
@ Purpose
oe [3]
di title
[1]

(ยฉ) Maganzvo/Mukwerera/M utoro/Ukuthethelela izulu/Mafuwe

@ Purpose

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(i) title
a [1]
(d) = Mariro/rufu/imfa
@ Purpose
oe [3]
di title
a [1]
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(e)

16

Hondo/impi
@ Purpose
di title

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Section C World Music Cultures [20 marks]
Answer one question from this section.

(a) _โ€”_ Identify 4 musical instruments used in Japan.

(b) Describe the Gagaku music under the following headings:

@ Its features

di Instruments played

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ยฉ

(a)

(b)

18

Give a brief analysis of the Japanese music

State 3 instruments of India.

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(ยฉ) Explain Indian music under the following headings.

@ Folk Music

(ii) โ€” Religious Music

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20 (iii) == Film Music

wo [3]
[Total: 20]

11 Select one childrenโ€™s game song in any language of your choice and turn it
into a percussion piece of 16 bars. The piece should have one melody
line and accompanying rhythm for one unpitched instrument of your choice.

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