MUSIC
PAPER 1
GRADE 12 
NSC EXAMS
PAST PAPERS AND MEMOS NOVEMBER 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 for each question to provide  enough information in their answers.
10. Write neatly and legibly.

QUESTIONS 

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 and answer the questions that follow.

1.1 Name the submediant minor key of this piece. ________________________ (1)
1.2 Name the related dominant major key of this piece. ____________________ (1)
1.3 Name the intervals at (a) and (b) according to type and distance. 

1.  __________________________________________________________ 
2. __________________________________________________________ (2) 

1.4 Transpose the bass part of bar 1 at X a perfect 5th lower. Insert the new key  signature.
 (3)
1.5 Describe the triads at (c) and (d) according to type and position. 

(c) ___________________________________________________________
(d) ___________________________________________________________ (2) 

1.6 Halve the note values and rewrite the bass clef part at Y in bar 4. Insert the new  time signature. 
(3)
1.7 Complete the melody below by writing ascending sequences as indicated.
(4)
1.8 Select the scale/mode on which EACH of the following TWO extracts is based.  Make a cross (X) in the appropriate block. 

1.9 Write the F# melodic minor scale ascending and descending, without a key  signature, in the given clef. Use only semibreves and indicate the semitones. 
(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 and  supply a suitable tempo indication. Add dynamic and articulation indications  where applicable. 

Instrument: __________________________  

Tempo: __________________________ 

The melody will be marked according to the following criteria:  [15] 

OR
2.2 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  and supply a suitable tempo indication. Add dynamic and articulation  indications where applicable. 

Instrument: __________________________  

Tempo: __________________________ 

The melody will be marked according to the following criteria: [15]

QUESTION 3 (10 minutes)
Answer EITHER QUESTION 3.1 OR QUESTION 3.2. 
3.1 Study the extract and answer the questions. 
3.1.1 Name the new key to which the piece modulates in bars 5–8.  Write the answer on the score. (1) 
3.1.2 Figure the chords at (a)–(e) with Roman numerals on the score, e.g. iii6/iiib. (5) 
3.1.3 Identify the cadence at (f) in bars 12–13 on the score. Indicate the  key and figure the chords with Roman numerals. (2) 
3.1.4 Name the type of non-chordal notes at (i) and (ii). 

1. ________________________
2.  ________________________  (2) [10] 

3.2 Study the extract and answer the questions that follow. 

3.2.1 Identify the chords (a)–(e) and write chord symbols in the spaces provided on the score, e.g. Bb/D. (5) 
3.2.2 Name the types of non-chordal notes at (i)–(iii). 

1.  ________________________
2.  ________________________
3.  ________________________ (3) 

3.2.3 Name the cadence which is formed in bars 12–13 on the score. Indicate the chord symbols at (f) and (g). (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.  

The harmonisation will be marked according to the following criteria:  [15] 

OR
4.2 Complete the piece below by adding suitable harmonic material in the open  spaces on the stave. Continue in the style suggested by the given material in  bars 1 and 2. 

The harmonisation will be marked according to the following criteria:  [15] 

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 Various options are provided as possible answers to the following  questions/statements. Choose the answer and write only the letter (A–D)  next to the question numbers (5.1.1 to 5.1.10) in the ANSWER BOOK,  e.g. 5.1.11 D. 
5.1.1 FOUR main elements of music are … 

1. technique, rhythm, tempo, melody.
2. timbre, rhythm, harmony, melody. 
3. tuning, timbre, harmony, melody. 
4. bass line, rhythm, imitation, melody. 

5.1.2 Syncopation is associated with the element of … 

1. dynamics.
2. texture.
3. rhythm.
4. All the above-mentioned 

5.1.3 The element melody is associated with … 

1. register.
2. range.
3. pitch.
4. All the above-mentioned 

5.1.4 A texture that has several prominent melodies sounding at the same  time is … 

1. monophonic. 
2. polyphonic.
3. homophonic. 
4. None of the above-mentioned 

5.1.5 The specific quality of a musical sound played by a particular  instrument is known as … 

1. texture.
2. melody.
3. pitch.
4. timbre.

5.1.6 A very loud dynamic level in music is … 

1. prestissimo.
2. forte.
3. mezzo piano.
4. fortissimo. 

5.1.7 Which ONE of the following terms is the ODD ONE OUT? 

1. Meno mosso
2. Ritardando
3. Rallentando
4. Morendo 

5.1.8 'Intro' is short for … 

1. instrumentation.
2. introduction.
3. introspection.
4. intermezzo. 

5.1.9 Singing more than one note to a syllable of the text is called … 

1. a cappella.
2. cantabile singing.
3. a melisma.
4. scat singing. 

5.1.10 Swing rhythm is a performance style whereby the first quaver in  a group of two quavers is … 

1. shortened and the second quaver lengthened. 
2. lengthened and the second quaver shortened. 
3. played non-legato. 
4. None of the above-mentioned (10 x 1) (10)

5.2 Choose a description from COLUMN B that matches an item in COLUMN A.  Write only the letter (A–E) next to the question numbers (5.2.1 to 5.2.5) in the  ANSWER BOOK, e.g. 5.2.6 F.  (5 x 1) (5) 

5.3 Name FIVE role-players in the music industry who play a part in the  production of a song. (5) [20] 

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 Name TWO transposing wind instruments found in the standard Classical  orchestra. (2) 
6.2 State which woodwind instrument is found in the Classical orchestra, but not  in the Baroque orchestra. (1) 
6.3 Give the name and number of instruments in the percussion section of the  standard Classical orchestra. (1) 
6.4 Write down THREE differences between a coda and a codetta, when referring  to sonata form. (3) 
6.5 Give the musical terms or symbols for the following types of articulation:
6.5.1 Short, detached notes (1)
6.5.2 A note that is held longer than its full value (1) 
6.5.3 A sharp emphasis on a specific note (1) [10] 

QUESTION 7  
7.1 Study the extract below and identify the aria from The Magic Flute by Mozart. (1) 

7.2 Write a short paragraph on this aria. (4) [5] 

QUESTION 8 
Discuss the contribution that the Mannheim school made to orchestral music. [5]

QUESTION 9 
Beethoven is often seen as a bridging figure between the Classical and Romantic  styles. Describe the Romantic features that are found in his Pastorale Symphony No. 6 in F Major. Refer only to his use of instrumentation and dynamics. [5] 

QUESTION 10 
Write an essay on Mendelssohn's Hebrides Overture. 
You will be credited for the logical presentation of facts and the structure of your essay. 
The essay will be marked according to the following criteria: 

[15] 
TOTAL SECTION C: 40 

OR

SECTION D: JAZZ  
QUESTION 11 
11.1 Name ONE transposing instrument found in a big band. (1) 
11.2 Which TWO instruments are commonly used in a backing band in mbaqanga? (2) 
11.3 Describe TWO differences between popular song form and blues form. (4)
11.4 Give the musical terms for the following descriptions: 
11.4.1 Music created in the moment of performance, without written  scores (1) 
11.4.2 Spontaneous accompaniment played on piano or guitar (1) 
11.4.3 Chord replacement or re-harmonisation (1) [10] 

QUESTION 12 
Describe malombo music and name an artist/band associated with it. [5]

QUESTION 13 
Write a paragraph in which you discuss the use of instruments in EITHER marabi OR kwela music. [5] 

QUESTION 14 
Describe typical characteristics of the melody in the music of ONE of the following  artists and give ONE example of a relevant work: 

• Abdullah Ibrahim 
• Robbie Jansen 
• Winston Mankunku Ngozi [5]

QUESTION 15 
Discuss mbaqanga music. Refer to reasons for its rise in popularity. Comment on style  characteristics and give examples of artists that are associated with this style.  You will be credited for the logical presentation of facts and the structure of your essay. The essay will be marked according to the following criteria: 

[15] 
TOTAL SECTION D: 40 

OR

SECTION E: INDIGENOUS AFRICAN MUSIC (IAM) 
QUESTION 16 
16.1 Name TWO instruments used in tshikona. (2)
16.2 Which woodwind instrument is used in a malombo band? (1)
16.3 Name ONE instrument commonly used in the backing band in mbaqanga. (1)
16.4 Describe THREE differences between indlamu dance and mokhibo dance. (3)
16.5 Give the musical term for the descriptions below: 
16.5.1 A long, wavering, shrill, high-pitched vocal sound (1)
16.5.2 A quick, spoken part done by a Zulu praise singer (1) 
16.5.3 The musical instrument classification for an uhadi (1) [10] 

QUESTION 17 
Kiba is an indigenous music tradition of the baPedi people. How did artists, such as  Sello Galane, transform the traditional kiba into the modern style known as free kiba? [5] 

QUESTION 18 
How did Phillip Tabane make malombo music popular? [5]

QUESTION 19 
Discuss the role of music and movement in African divinity. [5]

QUESTION 20 
Discuss maskanda music. Refer to the role of the guitar, the style of singing and  izihlabo. You will be credited for the logical presentation of facts and the structure of your essay.  The essay will be marked according to the following criteria: 

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