MUSIC
PAPER 2
GRADE 12 
NSC EXAMS
PAST PAPERS AND MEMOS NOVEMBER 2018

INSTRUCTIONS AND INFORMATION 

  1. This question paper consists of THREE sections:
    SECTION A: Aural (10)
    SECTION B: Recognition (12)
    SECTION C: Form (8) 
  2. QUESTION 1, QUESTION 2, QUESTION 3 and QUESTION 7 are  COMPULSORY.
  3. Answer QUESTION 4 (Western Art Music (WAM)) OR QUESTION 5 (JAZZ) OR  QUESTION 6 (Indigenous African Music (IAM)).
  4. Write ALL your answers on this question paper. Use a pencil for music notation  and blue or black ink for the other answers.
  5. This examination will be conducted while the candidates are listening to a CD. 6.
  6. The music teacher of the centre must conduct the examination in the presence  of the invigilator.
  7. The last page of this question paper is manuscript paper intended for rough  work. The candidate must NOT 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 to provide  enough information in their answers.
  10. Write neatly and legibly.

INSTRUCTIONS FOR THE PERSON OPERATING THE SOUND EQUIPMENT 

  1. The instructions for the music teacher appear in the frames. 
  2. Each music extract (track) must be played the number of times specified in the  question paper. 
  3. Allow adequate time between tracks to give candidates time to think and write  their answers before playing the next track.
  4. The number of the track must be announced clearly each time before it is  played.
  5. If a school offers more than one stream (Western Art Music (WAM), Jazz,  Indigenous African Music (IAM)), the following guidelines must be followed:
    • Each stream must sit for the examination in a separate venue. 
    • Each venue must be equipped with suitable sound equipment. 
    • Each venue must have its own CD with music extracts. 
    •  An invigilator must be present in each venue.
  6. The tracks must be played as follows: 
    • WAM candidates: Tracks 1 to 20 and Track 33 
    • JAZZ candidates: Tracks 1 to 11, Tracks 21 to 27 and Track 33 
    • IAM candidates: Tracks 1 to 11 and Tracks 28 to 33
  7. A battery-powered CD player must be available in case of a power failure.7. 

QUESTIONS 

SECTION A: AURAL 
QUESTION 1 

Play Track 1 TWICE in succession.



1.1 Listen to the melodic and rhythmic phrase. Notate the rhythm of the missing notes in bars 2–3 below. 

(3) 

Play Track 1 TWICE again.

Play Track 2 THREE times in succession.

1.2 Which ONE of the notations below best represents the solo voice part?  Make a cross (X) in the appropriate block. 
1.2 khikuahuihds (1) [4]

Play Track 2 ONCE more.

QUESTION 2 

Play Track 3 ONCE to provide a general overview.

Listen to the extract below. Answer the questions that follow. 
2 uygtyagsduya

Play Track 4 TWICE. 

2.1 Name the interval formed between the Db note and the missing note in bar 24.  (1) 

Play Track 5 TWICE. 

2.2 Which type of non-chordal note do you hear in bar 54? __________________________________________________________ (1)
2.3 Name the cadence at bars 11 to 12. __________________________________________________________ (1) 

Play Track 6 THREE times. 

2.4 Listen to the music from bars 1 to 6. Some of the notation in bar 4 has been  omitted from the score. Fill in the missing pitches and note values that  correspond with the music that you hear. (2) 
2.5 Name the solo instrument that plays the melody line in this extract. __________________________________________________________ (1) [6] 

TOTAL SECTION A: 10

SECTION B: RECOGNITION OF MUSIC CONCEPTS  
QUESTION 3: GENERAL LISTENING (COMPULSORY) 

Listen to the following tracks and answer the questions that follow. 

Play Track 7 THREE times.

3.1 With which items in COLUMN A do you associate the music that you hear in  Track 7? Make a cross (X) in THREE appropriate blocks.  (3) 

COLUMN A 

Track 7

Chromatic passage 

 

Adagio

 

Duet

 

Allegretto

 

String and wind quartet

 

Major key

 

String quartet 

 

Play Track 8 TWICE.

3.2 Which ONE of the following statements is CORRECT? Make a cross (X) in the  appropriate block.  (1) 

STATEMENT

 

The extract consists of a motif, an imitation and an imperfect cadence

 

The extract consists of a motif, inversion and an imperfect cadence

 

The extract consists of a motif, repetition and an imperfect cadence 

 

Play Track 9 THREE times.

3.3 With which items in COLUMN A do you associate the music that you hear in  Track 9? Make a cross (X) in THREE appropriate blocks.  (3)

COLUMN A 

Track 9

Vocal melody starts with anacrusis

 

Triple time

 

Quadruple time

 

Swing/shuffle rhythm

 

Guitar introduction

 

12-bar blues

 

Syllabic word setting 

 

Play Track 10 THREE times.

3.4 With which items in COLUMN A do you associate the music that you hear  in Track 10? Make a cross (X) in THREE appropriate blocks.  (3) 

COLUMN A 

Track 10

Chordal accompaniment 

 

Allegro 

 

Simple quadruple

 

Compound triple

 

Guitar introduction

 

Straight rhythm

 

Alto voice 

 

Play Track 11 TWICE.

3.5 Choose any TWO items from COLUMN A and identify what you hear in  COLUMN B.  (2) 

COLUMN A 

COLUMN B(IDENTIFY)

Solo instrument

 

Prominent compositional technique

 

Musical genre

 

Texture 

 

(12 ÷ 3) [4]

Answer QUESTION 4 (WAM) OR QUESTION 5 (JAZZ) OR QUESTION 6 (IAM).
QUESTION 4: WAM  

Play Tracks 12, 13 and 14 TWICE. 



4.1 Listen to the extracts and answer the questions. 

With which ONE of the characters in COLUMN A do you associate EACH track? Make a cross (X) in the appropriate block for each track. (3) 

COLUMN A 

Track 12 

Track 13 

Track 14

Papageno

     

Tamino

     

Sarastro

     

Monastatos

     

Pamina 

     

Play Track 15 TWICE. 

4.2 Give a suitable Italian term to describe the tempo of the music in this extract. __________________________________________________________ (1)
4.3 Name the wind instrument heard at the end of this extract. __________________________________________________________ (1) 

Play Track 16 TWICE. 

4.4 Which item describes the compositional technique used in this extract?  Choose from the list below. Make a cross (X) in the appropriate block. (1) 

Melodic  

inversion

Descending 

sequence

Rhythmic  

variation

Ascending 

sequence 

Play Track 17 TWICE. 

4.5 What is the title of the movement from which this extract is taken? __________________________________________________________ (1) 

Play Track 18 THREE times.

4.6 Which solo wind instrument plays the melody? __________________________________________________________ (1)
4.7 Which wind instrument plays an accompaniment to this melody at the start  of this extract? __________________________________________________________ (1)
4.8 Describe how Beethoven employs the string section in this extract. __________________________________________________________ (2) 

Play Track 19 THREE times. 

4.9 Choose THREE statements below that best describe the music that you hear.  Make a cross (X) in THREE appropriate blocks.   (3) 

All instruments play in unison

 

Ascending legato passages 

 

Ascending chromatic scale passages

 

Ascending chromatic sequences in clarinets

 

Long sustained note

 

Clarinet solo

 

4.10 Write down the title of the work from which this extract is taken. _____________________________________________________ (1) 

Play Track 20 TWICE.

4.11 Identify from which part of the work this extract is taken. Choose from the list  below and make a cross (X) in the appropriate block.  (1) 

Part of work 

Answer

First subject/theme 

 

Second subject/theme

 

End of the development

 

Beginning of the coda 

 

OR

(16 ÷ 2) [8] 
TOTAL SECTION B: 12 

QUESTION 5: JAZZ 

Play Track 21 TWICE.

5.1 With which FOUR items in COLUMN A do you associate the music that you  hear? Make a cross (X) in FOUR appropriate blocks.  (4) 

COLUMN A 

Answers

Mbaqanga

 

Pentatonic 

 

Major

 

Simple quadruple

 

12-bar blues

 

Cape jazz

 

5.1 uihy7hda

 

Kwela

 

Harmonic chord cycle 

 

Play Track 22 TWICE.

5.2 Which item describes the melodic movement of the horn section?  Make a cross (X) in the appropriate block.  (1) 

Chromatic passage

 

Group improvisation

 

Ascending sequences

 

Descending sequences 

 

Play Track 23 TWICE.

5.3 Apart from the drum kit, name ONE other instrument that forms part of the  rhythm section in this extract. __________________________________________________________ (1) 

Play Track 24 THREE times

5.4 With which ONE of the South African solo artists below do you associate this  extract? Make a cross (X) in the appropriate block.  (1)

Robbie Jansen 

Philip Tabane 

Zim Ngqawana 

Hugh Masekela 

5.5 With which THREE items in COLUMN A do you associate the music that you  hear? Make a cross (X) in THREE appropriate blocks.  (3) 

COLUMN A 

Answers 

Fuses Xhosa songs with blues 

 

Abdullah Ibrahim influences 

 

Idiophone

 

Modal chord progression 

 

Improvisation

 

Ceremonial atmosphere 

 

5.6 Describe the role of the piano in this extract.  (2) 

Play Track 25 THREE times.

5.7 Name the instrument that plays the accompaniment in the introduction of  this extract. __________________________________________________________ (1)
5.8 Describe the role of the backing singers.  (2)
5.9 Name ONE group that you associate with this jazz style. ______________________________________________________________ (1)

(16 ÷ 2) [8] 
TOTAL SECTION B: 12 

OR

QUESTION 6: IAM  

Play Track 26 TWICE.

6.1 With which FOUR items in COLUMN A do you associate the music that you  hear? Make a cross (X) in FOUR appropriate blocks.  (4) 

COLUMN A 

Answers

Mbaqanga

 

Modal

 

Malombo

 

Umrhube

 

Ululation

 

Major

 

Aerophone

 

Concertina

 

Repetition 

 

Play Track 27 TWICE.

6.2 Describe the whistling that you hear.  (1) 
6.3 Write down a suitable term to describe the rhythmic feature in the  accompaniment.   (1) 

Play Track 28 TWICE.

6.4 With which THREE items in COLUMN A do you associate the music that you  hear? Make a cross (X) in THREE appropriate blocks.   (3)

COLUMN A 

Answers

Blues 

 

Batswana 

 

Idiophone

 

Malombo drum

 

Chord cycle

 

Tshikona 

 

Play Tracks 29 and 30 TWICE in succession.

6.5 Identify the differences between Track 29 and Track 30. Choose only TWO  items in column A for your comparison.   (4) 

COLUMN A 

Track 29 

Track 30

Introduction

   

Voice type

   

Tempo/Beat

   

6.6 Name the style that you associate with both extracts.  (1)
6.7 With which artists/bands do you associate EACH track? 
Answer: 

Track 29: ___________________________________________________ 

Track 30: ___________________________________________________ (2)

(16 ÷ 2) [8] 
TOTAL SECTION B: 12

SECTION C: FORM 
QUESTION 7  
Read and study the questions for ONE minute. 

Play Track 31 ONCE to provide an overview.

Listen to the piece below while you study the score.
7 kjghuygad

Play Track 31 again.

7.1 Name the form type of this piece. ______________________________________________________________ (1) 
7.2 Motivate your answer to QUESTION 7.1 by giving a schematic layout of the  form of this piece. Use the table below. (4) 

Section 

Bar numbers

   
   
   
   

7.3 Name the texture type of this extract. ______________________________________________________________ (1)
7.4 What is the function of the F natural in bar 8? ______________________________________________________________ (1) 
7.5 Which ONE of the following features is used in this piece? Make a cross (X)  in the appropriate block.  (1) [8] 

Pentatonic scale 

Triple metre 

Syncopation 

Children’s choir 

Play Track 31 for a final overview.

TOTAL SECTION C: 8
GRAND TOTAL: 30

rough work

Last modified on Thursday, 23 September 2021 07:25