Songs and Oral Poetry
17 Grade 10 Literature in English questions on Songs and Oral Poetry, with worked marking schemes. 17 questions are available on this topic in full.
Question 1
4 marksPeople in every Kenyan community sing songs. Explain two functions of songs in society. (4 marks)
(4 marks)
Marking scheme
Any two of the following, 2 marks each (1 mark for the function and 1 mark for the explanation or example) (4 marks): - Entertainment: songs relax people and liven up gatherings such as weddings and festivals. - Education: songs pass on values, history and skills to the young, for example initiation songs that teach adult roles. - Consolation: dirges comfort the bereaved at funerals. - Praise: praise songs honour heroes, leaders and achievers and encourage others to copy them. - Correcting behaviour: satirical songs ridicule wrongdoers so that they reform. - Easing work: work songs reduce fatigue and coordinate the rhythm of group labour. - Preserving culture: songs keep a community's language, beliefs and history alive. - Unity and identity: singing together builds togetherness and a sense of belonging. - Expressing feelings: songs let people voice joy, grief, love or protest. - Marking rites of passage: songs accompany birth, initiation, marriage and death. - Worship: religious songs are used to pray and to give thanks. - Mobilisation/advocacy: songs rally people at campaigns, or spread awareness of issues such as child protection and conservation.
Question 2
4 marks(a) Explain what is meant by an oral song. (2 marks)
(b) State two ways in which an oral song differs from a written poem. (2 marks)
(4 marks)
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6 marksDraw a table with three columns headed "Type of song", "Occasion of performance" and "One function". Fill in the table for any three types of oral songs found in Kenyan communities. (6 marks)
(6 marks)
Marking scheme
Three rows, 2 marks per row (1 mark for a correct occasion and 1 mark for a correct function, each matching a validly named type of song) (6 marks). A type named without a correct occasion or function scores 0 for that column. Acceptable rows include: - Lullaby: while caring for a baby or putting it to sleep. Function: soothes the child to sleep or stops it crying. - Dirge/funeral song: at funerals, burials and wakes. Function: consoles the bereaved or honours the dead. - Work song: while digging, weeding, harvesting, pounding grain, fishing or herding. Function: eases the burden of work or coordinates the workers' rhythm. - Wedding song: at weddings and dowry ceremonies. Function: celebrates the couple or advises them on marriage. - Initiation song: at initiation ceremonies. Function: encourages initiates to be brave or teaches adult responsibilities. - Praise song: when honouring heroes, leaders or champions. Function: expresses admiration or motivates achievement. - Satirical song: at social gatherings and dances. Function: ridicules undesirable behaviour so that it is corrected. - War song: before or after battle. Function: rouses courage or celebrates victory. - Religious/ritual song: during prayers for rain, sacrifices or worship. Function: appeals to God or the ancestors. - Patriotic song: on national holidays such as Madaraka or Mashujaa Day. Function: promotes national pride and unity. - Children's play song: during children's games, for example in the evening. Function: entertains, or teaches counting and coordination.
Question 4
1 markRead the extract from a song sung at a tree-planting day in Nyeri and answer the question that follows. "Dig the hole, children, dig it deep, Plant the seedling as Wangari Maathai planted, Water it, guard it from the hungry goats, And the bare hills will wear green again." The reference to Wangari Maathai in the second line is an example of
A. Euphemism
B. Allusion
C. Hyperbole
D. Onomatopoeia
(1 mark)
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Create a free account to see itQuestion 5
1 markRead the song below and answer the question that follows. "Lala, lala, little one, Mama has gone to the shamba, Lala, lala, close your eyes, she will bring you sweet potatoes, The hen is in her nest, the goats are in the pen, Lala, lala, little one, sleep until Mama comes." Which type of song is this?
A. Wedding song
B. War song
C. Lullaby
D. Dirge
(1 mark)
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6 marksRead the song below and answer the questions that follow. "Where have you gone, Akinyi, daughter of the lake? The fishing boats return, but you do not return. The sun sets over Dunga, but you do not return. Who will now fetch water at dawn? Who will sing to the little ones at dusk? Weep, women of Kisumu, weep, For the lake has swallowed its brightest pearl."
(a) Describe the mood of the song, giving a reason from the text. (2 marks)
(b) Identify two stylistic devices used in the song and illustrate each. (4 marks)
(6 marks)
Marking scheme
(a) 2 marks: - Mood: sorrowful / mournful / grief-stricken / sombre (1 mark) - Reason: the persona mourns Akinyi, who "does not return", OR calls on the women of Kisumu to "weep", OR says the lake has "swallowed its brightest pearl" (1 mark) (b) Any two of the following, 1 mark for the device and 1 mark for the illustration (4 marks): - Repetition/refrain: "but you do not return"; "weep". - Rhetorical questions: "Who will now fetch water at dawn?" / "Who will sing to the little ones at dusk?" - Apostrophe: addressing the dead Akinyi as if she could hear ("Where have you gone, Akinyi"). - Direct address/imperative: "Weep, women of Kisumu, weep". - Metaphor: Akinyi is called the lake's "brightest pearl". - Personification: "the lake has swallowed". - Euphemism: "the lake has swallowed" stands for her drowning or death. - Parallelism: "The fishing boats return.../The sun sets over Dunga..." share the same structure. - Epithet: "daughter of the lake". - Local imagery/setting: Dunga, Kisumu, the lake, fishing boats. - Contrast: the boats and the sun return, but Akinyi does not.
Question 7
2 marksOutline two characteristics of initiation songs among Kenyan communities. (2 marks)
(2 marks)
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Create a free account to see itQuestion 8
1 markRead the song below and answer the question that follows. "Who is this who sleeps till the sun is high? Ole! Ole! Lazy Wafula! His goats are thin, his granary is bare, Ole! Ole! Lazy Wafula! At the beer party he is the first to dance, But where, oh where, is his hoe?" Which type of song is this?
A. Patriotic song
B. Wedding song
C. Initiation song
D. Satirical song
(1 mark)
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1 markRead the extract from a song sung by girls fetching water and answer the question that follows. "The river is cool, the morning is young, Sing, sisters, sing! Our pots are heavy, our steps are light, Sing, sisters, sing! The path is long but the songs are sweet, Sing, sisters, sing!" In the extract, the line "Sing, sisters, sing!" is an example of
A. A simile
B. Hyperbole
C. A refrain
D. A rhetorical question
(1 mark)
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6 marksRead the song below and answer the questions that follow. "Kiprono, son of Cheruiyot, the bull that never bows! When he runs, the wind asks to borrow his legs. Ten times he broke the tape at Kapsabet; ten times the crowd roared. His feet are hooves of thunder on the red earth. Mothers name their sons after him; old men lift their walking sticks. Run, Kiprono, run! The hills of Nandi carry your name."
(a) Identify the type of song, giving one reason from the text. (2 marks)
(b) Explain two ways in which the singer creates admiration for Kiprono. (4 marks)
(6 marks)
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4 marksExplain two ways in which contemporary Kenyan musicians have adapted traditional oral songs. (4 marks)
(4 marks)
Marking scheme
Any two of the following, 2 marks each (1 mark for the way and 1 mark for the explanation or example) (4 marks): - They blend traditional melodies and rhythms with modern instruments such as the guitar and keyboard; benga, for example, adapted traditional Luo rhythms to the electric guitar. - They sing in indigenous languages or mix them with Kiswahili, Sheng or English to reach wider audiences. - They use traditional song forms to address current issues such as peace during elections, HIV/AIDS, child protection and the environment. - They record and share songs on radio, television and online platforms, so the songs travel beyond the original community. - They keep oral features such as call and response, refrains and repetition in their choruses. - They use traditional dances, costumes and settings in music videos and stage shows. - They turn traditional praise songs into songs that praise modern heroes such as athletes and leaders. - They arrange folk songs for choirs and perform them at events such as the Kenya Music Festival.
Question 12
4 marksRead the children's play song below and answer the questions that follow. "Kamau, Kamau, where are you going? To the river, to the river? Mama says no! Stranger, stranger, sweets in your hand, I will not follow, I will run home! Clap, clap, one-two-three, I am safe with Mama!"
(a) Identify two features that make this song suitable for young children. (2 marks)
(b) Explain the lesson on child safety that the song teaches. (2 marks)
(4 marks)
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4 marksYour class has been invited to perform a wedding song at a county music festival. Outline four aspects of performance that you would consider to make the presentation effective. (4 marks)
(4 marks)
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3 marksOutline three ways in which a soloist can involve the audience during the performance of an oral song. (3 marks)
(3 marks)
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6 marksRead the song below and answer the questions that follow. Soloist: Raise the jembe high, my brothers! Chorus: Hoi! Hoi! The soil is soft! Soloist: The sun is climbing over Kerio hill, Chorus: Hoi! Hoi! The soil is soft! Soloist: Whoever tires first will carry no millet home, Chorus: Hoi! Hoi! The soil is soft! Soloist: Strike together, strike as one! Chorus: Hoi! Hoi! The soil is soft!
(a) Identify the type of song, giving a reason. (2 marks)
(b) Identify two features of oral songs used in the extract and illustrate each. (4 marks)
(6 marks)
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Create a free account to see itQuestion 16
1 markIn many Kenyan oral songs, a lead singer sings a line and the rest of the group answers with a set line. This structure is known as
A. Free verse structure
B. Run-on line pattern
C. Regular rhyme scheme
D. Call and response
(1 mark)
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1 markA Grade 10 learner is to perform a dirge at a school cultural festival. Which non-verbal choice would best bring out the mood of the song?
A. Rapid clapping and a broad smile throughout
B. Slow, heavy movements and a sombre face
C. Whistling a cheerful tune between verses
D. Energetic jumping and joyful shouts
(1 mark)
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