MUSIC
PAPER 1
GRADE 12 
NSC PAST PAPERS AND MEMOS
FEBRUARY/MARCH 2018

INSTRUCTIONS AND INFORMATION

1. This question paper consists of FIVE sections, namely SECTIONS A, B, C, D and E.
2. SECTIONS A and B are compulsory.
3. SECTION C: WESTERN ART MUSIC (WAM), SECTION D: JAZZ and SECTION E: INDIGENOUS AFRICAN MUSIC (IAM) are choice questions. Answer only ONE of these sections (SECTION C or D or E).
4. Write all music notation in SECTION A in pencil and all written text in blue or black ink on this question paper.
5. Answer SECTION B and SECTION C or D or E in blue or black ink in the ANSWER BOOK provided.
6. Number the answers correctly according to the numbering system used in this question paper.
7. The last page of this question paper is manuscript paper intended for rough work. Candidates may remove this page.
8. Candidates may NOT have access to any musical instrument for the duration of this examination.
9. Candidates must take note of the mark allocation of each question in order to provide enough information in their answer.
10. Write neatly and legibly.

MARKING GRID

MEMORANDUM 

SECTION A: THEORY OF MUSIC (COMPULSORY) (90 minutes)
Answer QUESTION 1
AND QUESTION 2.1 OR 2.2
AND QUESTION 3.1 OR 3.2
AND QUESTION 4.1 OR 4.2.
Answer the questions in the spaces provided on this question paper.
QUESTION 1 (25 minutes)
Study the extract from Send in the Clowns by Stephen Sondheim below and answer the questions that follow.

1.1 Name the key of the work.
Answer:

• Eb major = 1 mark (1)

1.2 What is the relative minor of the main key?
Answer:

• C minor = 1 mark (1)

1.3 Transpose the first four notes of the violin part a major third higher on the given stave below. Use a new key signature.
Answer
(2)

1.4 Name the intervals at 1.4.1 and 1.4.2 according to type and distance.
Answer:
1.4.1 Minor 7th
1.4.2 Major 10th/Compound Major 3rd (2)

1.5 Name the triads at A and B according to type and position, for example Major, second inversion. (Consider only the notes in the block.)
Answer:
A: Minor second inversion
B: Minor first inversion (2)

1.6 Rewrite the violin part at X using half the note values. Insert the new time signature.
Answer:
(2)

1.7 Rewrite the violin part at Y in the corresponding simple quadruple time, using the alto clef.
Answer:
(3)

1.8 Give the meaning of the Italian term, Adagio.
Answer:
(1)

1.9 In which scale/mode is the following melody written?
Answer:
(1)

1.10 Write the melodic form of the B minor scale, descending, using the alto clef. Write without a key signature, use semibreves and mark the semitones.
Answer:
(3)

1.11 Complete the fragment by writing sequences of motif (a) in bars 2 and 3.

(2)
[20]

QUESTION 2 (25 minutes)
Answer EITHER QUESTION 2.1 OR QUESTION 2.2.
2.1 Complete the opening motif below to form a twelve-bar melody in ternary form for any single-line melodic instrument of your choice. Name the instrument for which you are writing. Indicate the tempo and add dynamic and articulation marks.
Concept answer:
Instruments: Bassoon, Trombone, Cello, Bass guitar, Double bass

OR
2.2 Concept answer:
Instrument: Flute, Oboe, Clarinet, Trumpet, Violin, Guitar, Saxophone, Marimba

The melody will be marked according to the following criteria:

QUESTION 3 (10 minutes)
Answer EITHER QUESTION 3.1 OR QUESTION 3.2.
3.1 Study the extract below and answer the questions that follow.
Answer:

3.1.1 Identify the chords from (a)–(f) and figure them on the score, e.g. iiib/iii6
Answer:
See score: (6)

3.1.2 Name the type of non-chordal notes at (i) and (ii)
Answer: (2)

3.1.3 Identify the cadence at X. Write down the chord progression and the name of the cadence.
Answer:
V7 – I
Perfect (Cadence) (2)

[10]

OR
3.2 Study the extract below and answer the questions that follow.
Answer:

3.2.1 Identify the chords from (a)–(f) and figure them on the score, e.g. B/F# (6)

3.2.2 Name the type of non-chordal notes at (i) and (ii)
Answer: (2)

3.2.3 Identify the cadence at X. Write down the chord symbols and the name of the cadence.
Answer: (2)

[10]

QUESTION 4 (30 minutes)
Answer EITHER QUESTION 4.1 OR QUESTION 4.2.
4.1 Complete the four-part vocal harmonisation below by adding the alto, tenor and bass parts.
Concept answer:

The answer will be marked according to the following criteria:

OR
4.2 Complete the piece below by adding suitable harmonic material in the open stave. Continue in the style suggested by the given material in bar 1.
Concept answer:

The answer will be marked according to the following criteria:

TOTAL SECTION A: 60

SECTIONS B, C, D, E: GENERAL MUSIC KNOWLEDGE (90 minutes)
Answer SECTION B
AND SECTION C (Western Art Music)
OR SECTION D (Jazz)
OR SECTION E (Indigenous African Music).
Answer these questions in the ANSWER BOOK provided.
SECTION B: GENERAL (COMPULSORY)
QUESTION 5
5.1
5.1.1 C
5.1.2 B
5.1.3 D
5.1.4 D
5.1.5 C
5.1.6 D
5.1.7 C
5.1.8 A
5.1.9 D
5.1.10 C (10)
5.2

(10) TEN correct answers = 10 marks

 [10]
TOTAL SECTION B: 20

Answer SECTION C (WAM)
OR SECTION D (JAZZ)
OR SECTION E (IAM).
SECTION C: WESTERN ART MUSIC (WAM)
QUESTION 6
6.1
6.1.1

• Three large subdivisions: Minuet (A), Trio (B), Minuet (A); Each section (A – aaba; B – ccdc; A aaba); usually in rounded binary form (compound ternary form)
• The Trio (B) is usually different in character and key from Minuet
•  A – Tonic, B – Tonic or Related key; A – Tonic (3)

  TWO correct facts relating to form = 2 marks One correct fact relating to key = 1 mark

6.1.2

• ABACA (or ABACADA Old Rondeau)
• The main section or theme, A, returns after each contrasting (B/C) section (episodes)
• A – Tonic, B – Related key (dominant), A – Tonic, C – Related key (relative minor), A - Tonic (3)

  TWO correct facts relating to form = 2 marks One correct fact relating to key = 1 mark

(3 x 2) (6)

6.2

• Dramatic work for voices and orchestral accompaniment
• Combines music, drama, costumes, décor and often dance (2)

  1 mark for 'voices and orchestra' 1 mark for idea of 'combination'

6.3 Opera buffa

• Opera with comic subject matter
• Stories often light-hearted and romantic
•  The comic characters are from the working class e.g. maids, peasants, servants

Opera seria

• Opera with serious subject matter
• Stories often tragic or heroic
• Typically involves royalty or ancient myths and gods (2)

  Correct fact for Opera Buffa = 1 mark Correct fact for Opera Seria = 1 mark

[10]

QUESTION 7
Form

• Sonata form
  • Exposition, Development, Recapitulation, Coda
• Uses a new genre: concert overture

Keys

• Begins in B minor
• Second subject in D major (modulates to relative major)

Harmony

• Uses classical, tonal harmony

Dynamics

• Wide dynamic range: pp to ff
• Expressive use of dynamics to depict nature through sound

Mood

• Brooding mood initially depicting the seascape
• Mood changes according to the suggested program
  ONE correct answer from each element = 5 marks [5]

QUESTION 8
Aria: Definition

• An aria written for solo vocalist with instrumental accompaniment
•  A song used for stating a particular emotion(s) of a character
  TWO correct facts = 2 marks

Mood: Der Hölle Rache

• Depicts a fit of vengeful rage and anger - minor key, fast tempo, ff-dynamics
• Dark impressive mood and dramatic drive – fast tempo, extreme melodic range
• Dramatic flair, theatrical emphasis and spectacle of voice – short melodic phrases, coloratura soprano
  THREE correct facts = 3 marks 

[5]

QUESTION 9
9.1
A: Hebrides or Fingal's Cave
B: Pastorale Symphony no 6, 1st movement
C: Overture to The Magic Flute (3)

9.2
A: Violas/cellos
B: Violins (2)

[5]

QUESTION 10
Programmatic content:

• Given a title: The Pastoral Symphony
• Also published as A recollection of country life
• One of Beethoven's few works containing clear programmatic content
• Its extra-musical purpose is an expression of his love of nature
• All the movements are given a title:
  • First movement: Awakening of cheerful feelings upon arriving in the country
  • Second movement: Scene by the brook
  • Third movement: Happy gathering of country folk
  • Fourth movement: Storm
  • Fifth movement: Shepherds' song; cheerful and thankful feelings after a storm
• The last three movements are performed as one without pause – to add to the realistic picture of a storm from the emergence, to its climax and then relief at the end

  Any SIX correct facts = 6 marks

Instrumentation/Tone painting

• First movement: involves a typical pastoral picture (F major; 6/8) e.g. the opening drone of an open fifth in the lower strings (typical of a 'pastorale)'
• Second movement: includes the famous birdcalls:
  • Flute for the nightingale
  • Oboe for the quail, and
  • Two clarinets for the cuckoo
• Third movement: Typical boisterous, country dance music (Lȁndler) by peasant folk
• Fourth movement: A realistic portrayal of thunder and rain 
  Uses instruments effectively to imitate storm
  • Cellos and double basses and timpani - announce the storm
  • Staccato sounds of the violins render the falling raindrops
  • Timpani - the thunder
  • Piccolo contributes the climax and terror of storm
  • Arpeggiated figures in the strings – the lightning
  • Additional trombones to emphasize the intensity of the storm
• Fifth movement: A remembrance/reflection and continuation of this idealised pastoral scene
  • Uses instruments effectively to imitate a calmness of mood
  • Returns to F Major (tonal stability) to re- establish the pastoral mood
  • Establishes a true paradise, a pastoral scene in its simplicity e.g. yodelling of the clarinet and horn in opening bars, lilting character (in 6/8 time signature)

    Any SIX correct facts = 6 marks

The essay will be marked according to the following criteria:

[15]
TOTAL SECTION C: 40
GRAND TOTAL: 120

OR

SECTION D: JAZZ
QUESTION 11
11.1 Melody

• Folk-like melodies - narrow range, largely stepwise
• Blues song character
• Improvisational

Rhythm

• Ghoema beat - at a fast tempo (syncopated)
• Blends African (Xhosa) and Swing elements (2)

  Any TWO correct facts, one for each element = 2 marks

11.2

• Solo pennywhistle playing
• Moderate to upbeat tempo
• Skiffle-like beat
• Jive/Swing rhythms - pattern repeated constantly
• Weaving of different melody lines together
• Melody developed through improvisation (4)

  Any FOUR correct facts = 4 marks

11.3
11.3.1 Marabi
11.3.2 Mbaqanga
11.3.3 Cape Jazz
11.3.4 New Jazz/Jazz in Exile (4)

[10]

QUESTION 12
Dolly Rathebe

• Contributed to African vocal jazz styles
• Contributed to the developing Afro-pop genre
• Popularised local African songs/compositions
• Contributed to South African protest music
• Incorporated the American swing idiom with lyrics in African languages
• Woza (1991) or A Call for Peace (1995) or Siya Gida – We dance (1997)

  Any FIVE correct facts = 5 marks

Thandi Klaassen

• Forming of the first all-girl group, The Quad Sisters
•  50 years of performing
• Awarded: Woman of Distinction - for outstanding musical role in the political struggle
• Performed in international jazz Opera King Kong
• Blended blues, jazz and Xhosa music in her personal vocal style
• Sophiatown or any other correct song

  Any FIVE correct facts = 5 marks

Miriam Makeba

• Sang modern versions of indigenous songs in her mother tongue isiXhosa
• Documentary: Amandla!: A Revolution in Four-Part Harmony about the struggles of black South Africans against the injustices of apartheid through the use of music
• Has historical significance as a result of her inspiring activism against Apartheid through music
• With the release of Phata Phata in 1967 in the USA, Makeba gained international recognition for South African music, highlighting awareness of the plight of the majority of South Africans
• Earned an international reputation not only as a musician but also as a cultural activist opposed to the segregationist policies of apartheid
• First female artist from South Africa to popularize African music around the world
• Recorded and toured with many popular artists such as Harry Belafonte and Paul Simon
• Received a Grammy Award for Best folk recording with Harry Belafonte
• Performed in the International Jazz Opera, King Kong [5]

  Any FIVE correct facts = 5 marks

QUESTION 13

• A mixture of hard-driving blues (Charles Mingus) and wild experimentalism (Sun Ra)
• Unique sound due to the South African influences – cyclic harmonic progression, consecutive parallel movement, repetitive rhythmic patterns
• Avant Garde (atonal) arrangements and experimental music
• Dynamic Big Band ensemble
• Sophisticated instrumental arrangements
• In the earlier stages musical freedom and development of individuality, prominent
• Later arrangements were more controlled resulting in less free improvisation
• A mixture of South African traditional music and the more progressive American contributions to jazz [5]

  Any FIVE correct facts = 5 marks

QUESTION 14

• A typical mbaqanga song begins with a brief improvised introduction
• Introduction features a rhythmically ambiguous line from a solo guitar
• Drums and bass guitar set a four-bar chord sequence from which the piece will grow
• Call and response is used in the vocal passages
• Call and response used between voices and instruments
• Bass lines play an important role in mbaqanga songs
  • they provide the harmonic framework
  • often repeat rhythmic and melodic ideas found, repeated and strengthened in the vocal lines
• Mbaqanga keeps the dance-like stylistic characteristics
• Has more powerful sound and harder driving beat than kwela and other dance genres [5]

  Any FIVE correct facts = 5 marks

QUESTION 15
Traditional influences

• A mixture of music styles from different South African cultures
• African traditional ceremonial songs
• Well-known African songs usually (umbholoho-wedding songs) arranged to suit dance performances
• African Christian hymns which would be jazzed up to suit the dance performances
• Two varieties of Marabi
  • Xhosa: Thula ndivile - name derived from a popular marabi song of the same name
  • Zulu: Ndunduma derived its name from the mine dumps in Johannesburg
• Sometimes lyrics contained social commentary or protest
• Afrikaans music: tiekiedraai, vastrap
• Ghoema music of the Cape Malay
• Nguni dance music: standard drum pattern with marked rhythmic emphasis:
• Repetitive harmonic patterns: I – IV – Ic – V - I
• Improvised melodies are superimposed on the repetitive harmonic patterns

  Any SIX correct answers = 6 marks

International influences

• Early American Jazz
  • Popular dance tunes
  • Mixed instrumental groups e.g. keyboard, guitar and banjo
  • Pedal organ
  • One chord (I – IV– I 6/4 –V) per beat
• Ragtime
  • Ragtime-based rhythms
  • Use of piano
  • Moderate to fast tempo
• Blues
  • Cyclic chord structure and harmonic pattern
  • Use of guitar, banjo
  • Cycle extends over four bars
• American spirituals
• Military Band music
• Western Church hymns

  Any FOUR correct answers = 4 marks

Artist and song

• The Jazz Maniacs: Gully Low Blues
• The Manhattan Brothers: Jikela Emaweni
• Mahotella Queens: Marena

  Any ONE artist with a corresponding song = 2 marks

The essay will be marked according to the following criteria:

[15]
TOTAL SECTION D: 40
GRAND TOTAL: 120

OR

SECTION E: INDIGENOUS AFRICAN MUSIC (IAM)
QUESTION 16
16.1

• Deep rural isiZulu musical tradition developed from imbongi (traditional Zulu poetry)
• Izihlabo (introduction) in free meter; time signature always in 4/4; tonality always major; concertina often used in the introduction; guitar predominantly used (2)

  TWO sentences = 2 marks

16.2

• Lyrics are in different African languages
• Merges drum melo-rhythms with pluro-vocal responses, crepitations and vocal lilting
• Traditional drums e.g. Ditinti; Moropa wa diatla/Moropa; Kiba and other traditional African percussion used
• Traditional African dances (usually Sepedi) employed
• Polyrhythms between different instruments
• Call and response
• Direto (praise poetry)  (4)

  Any FOUR correct facts = 4 marks

16.3
16.3.1 Isicathamiya
16.3.2 Maskandi(2)

16.4
16.4.1 False (1)
16.4.2 True (1) (1 x 2) = (2)

[10]

QUESTION 17

• Consists of song, dance and dramatic elements
• African drums and hand percussion interplay with guitar and flute sounds
• African rhythms provided by the bongo and malombo drums
• Uses 12-bar blues structure
• Major chords used extensively
• Intermittent bursts of fast tempo playing
• Emotion/spirit filled singing  [5]

  Any FIVE correct facts = 5 marks

QUESTION 18

• Dance movements communicate the basic meaning of the text of a song
• It enhances the rhythms in the music
• Adds excitement to music which is repetitive by nature
• Dance movements are used to dramatise core values
• Improvisation in a dance used to show off a dancer's skill
• Improvised dance movements must be followed very closely by the drummers
• During some rituals, dance together with the music is used to induce a trance for the purposes of healing [5]

  Any FIVE correct facts = 5 marks

QUESTION 19

• A typical mbaqanga song begins with a brief improvised introduction featuring a rhythmically ambiguous line from a solo guitar
• A four-bar sequence of chords over which the entire piece will unfold is set by the drums and bass guitar
• Call and response is used in the vocal passages and also between voices and instruments
• Bass lines play an important role in mbaqanga songs,
  • because they not only provide the harmonic framework
  • but often repeat rhythmic and melodic ideas found, repeated and strengthened in the vocal lines
• Mbaqanga keeps the dance-like stylistic characteristics, but presents a more powerful sound and harder driving beat than kwela and other dance genres [5] 

  Correct facts = 5 marks

QUESTION 20

The essay will be marked according to the following criteria:

[15]
TOTAL SECTION E: 40
GRAND TOTAL: 120