MUSIC
PAPER 2
GRADE 12 
NSC PAST PAPERS AND MEMOS
NOVEMBER 2016

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 written while candidates are listening to a CD.
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 MAY 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 at each question to provide  enough information in their answers.
10. Write neatly and legibly.

SUMMARY OF MARKS

MEMORANDUM

SECTION A: AURAL 
QUESTION 1 

1.1 Listen to the melodic and rhythmic phrase. Notate the rhythm of the missing  notes in bars 3–4 below. 
  

(3) 

1.2 Which ONE of the extracts below corresponds with the melody that you hear? Make a cross (X) in the appropriate block. 
The extract starts with a two-bar click track. 
(1) 

[4] 

QUESTION 2 

Listen to the extract from My Favourite Things. Answer the questions that follow. 

2.1 Identify the difference(s) in articulation between bars 1–8 and bars 9–16. 

Answer: 

• Bars 1–8 two-note slurs (beat 1 and 2), staccato on beat 3 
• Bars 9–16 legato (smoothly-connected notes)  (1) 

2.2 The notation of bars 9 and 10 has been omitted at 2.2 on the score. Fill in the  missing pitches that correspond with the melody that you hear. (The track  starts in bar 5.) 
(3) 

2.3 Which interval is formed between the two notes in the block at 2.3? (The track  starts in bar 13.) 
(1) 

2.4 Name the cadence with which the extract ends. 
Answer: 
Imperfect or Half (cadence) (1) 

TOTAL SECTION A: 10

SECTION B: RECOGNITION OF MUSIC CONCEPTS 
QUESTION 3: GENERAL LISTENING (COMPULSORY)  
3.1 You will hear TWO different performances of the same piece: Track 8 and  Track 9. Listen to these extracts and answer the questions that follow. 

Compare these two extracts in terms of the following: 
Answer:  (3) 

3.2 Indicate only ONE feature that you hear in EACH of these tracks. Make a  cross (X) in the appropriate block.  
 Answer: 

(2)

3.3 Name any THREE features that indicate that this piece is typically African. 
Answer: 

• Call and response 
• Polyrhythms 
• Repetition 
• African drumming 
• Pentatonic scale used 
• Syncopation 
• Cyclic structure 
• African language  (3) 

(8 ÷ 2) [4]

Answer QUESTION 4 (WAM) OR QUESTION 5 (JAZZ) OR QUESTION 6 (IAM).
QUESTION 4: WAM 
4.1 Listen to the extracts from The Magic Flute by Mozart and answer the  questions that follow. 

4.1.1 With which subgenre in opera music do you associate this extract? 
Answer: 
Aria or Singspiel  (1) 

4.1.2 Name the character who sings in this extract. 
Answer: 
Papageno or Bird catcher  (1) 

4.1.3 Where in the opera is this extract sung? 
Answer: 

• Act 2 (Scene 5)  
• Towards the end of the opera when Papageno is confined in  Sarastro’s temple  (1) 

4.1.4 Name the idiophone that you hear in this extract. 
Answer: 

• Celesta 
• Glockenspiel or Metallophone 
• Glass harmonica 
• Bell  
• Music box  (1) 

4.1.5 Which Italian term best describes the tempo changes at the end of  this extract? 
Answer: 

• Ritardando or Rit. 
• Rallentando or Rall. 
• Ritenuto or Rit.  (1)

4.1.6 The time signature changes in this extract. Identify the new (second)  time signature. Make a cross (X) in the appropriate block. 
Answer: 
^6 
8            (1)

4.1.7 Listen to a section of the overture to The Magic Flute. How does this  extract succeed in setting the mood of the opera? 
Answer: 

• 3 chords
  • links with 3 knocks, 3 doors, 3 pillars 
  • Symbolic number (Masonic influence)
• Slow majestic, grand, misterious chords 
  • links with formal serious moral issues (light and dark, good and  evil)
• Polyphonic section 
  • link to complexity of the opera
• Staccatos, syncopation, quick tempo 
  • links to Queen of the Night aria 
  • lighter moments and playful nature of some characters  (2) 

4.1.8 Describe the texture of this extract. 
Answer: 

• Starts homophonic/chordal followed by polyphonic/contrapuntal  texture  
• Homophonic first section/Polyphonic second section  (1) 

4.2 Listen to the extracts below from Beethoven's Symphony No. 6 and answer  the questions that follow. 

4.2.1 What is the function of this extract in Beethoven's Symphony No. 6? 
Answer: 

• The linking passage between the fourth (The Storm) and fifth  (Shepherd’s Song) movements 
• Uninterrupted flow of musical ideas linking one programmatic  scene to the next (1) 

4.2.2 Listen to the higher-pitched instruments in this extract. Choose the  correct description below that corresponds with the music. Make a  cross (X) in the appropriate block. 
Answer:  (1) 

4.2.3 Which TWO of the following Italian terms apply to the music you  hear? Make a cross (X) in TWO appropriate blocks. 
Answer:  (2)

4.3 Listen to the following extract by Mendelssohn. Answer the question that  follows. 

Indicate THREE items in the list below that are CORRECT in relation to the  music that you hear. Make a cross (X) in THREE appropriate blocks. 
Answer:  (3) 

(16 ÷ 2) [8] 
TOTAL SECTION B: 12 

OR

QUESTION 5: JAZZ 

5.1 Listen to the extracts below by The Brotherhood of Breath and answer the  questions that follow. 

5.1.1 Identify the jazz category. Make a cross (X) in the appropriate block. 
Answer:  
Jazz in exile   (1) 

5.1.2 Describe the mood of this extract by referring to the tonality. 
Answer: 

• Major key 
• Upbeat/jolly mood  (1) 

5.1.3 Name ONE membranophone that you hear in the introduction. 
Answer: 

• Conga drums or Djembe 
• Any drums, part of the drum kit that is a membranophone  (1) 

5.1.4 Between which instruments/instrumental sections does the call and  response feature in this extract? 
Answer: 
Between brass/horn section and piano   (1) 

5.1.5 Describe TWO characteristics of this piano-playing style. 
Answer: 

• Lots of repeated notes typical of South African music 
• Percussive tone quality 
• Chordal comping 
• Fragmented melodic line   (2)

5.1.6 Name another band that is linked to this style of jazz. 
Answer: 

• The Blue Notes  
• The Jazz Epistles 
• Union of (South) Africa  (1) 

5.2 Listen to Spirits Rejoice and answer the questions that follow. 

5.2.1 Identify the jazz style. 
Answer: 

• Jazz at home/South African Jazz 
• Jazz Fusion 
• Afro Jazz 
• Jazz Funk  (1) 

5.2.2 Give reasons, related to the music, to motivate your answer to  QUESTION 5.2.1. 
Answer: 

• Mixing funk with rhythm and blues elements 
• Wind/brass section playing arranged lines (Big Band) 
• Pop/rock influences in drum kit and percussion 
• Prominent electric bass line   (2) 

5.2.3 Name ONE other artist/band that you associate with this style of  music. 
Answer: 

• Sakhile 
• Sipho Gumede 
• Bheki Mseleku 
• Union of (South) Africa 
• Blood, Sweat & Tears (International) 
• Zim Nqawana    (1)

5.2.4 Which solo instrument do you hear in this extract? 
Answer:  
Trumpet/Cornet/Flugel horn  (1) 

5.3 You will hear TWO music extracts: Track 27 and Track 28. Listen to these  extracts and answer the question below. 

Identify the music style of EACH extract and give ONE reason for EACH  answer. 
Answer: 

OR

 (4) (16 ÷ 2) [8] 
TOTAL SECTION B: 12 

QUESTION 6: IAM 
6.1 You will hear TWO tracks: Track 29 and Track 30. Listen to these tracks and  answer the question below. 

Identify the music style of EACH extract and give ONE reason for EACH  answer. 
Answer:   (4) 

6.2 You will hear TWO tracks: Track 31 and Track 32. Listen to these tracks and  answer the question that follows. 

6.2.1 With which of the following descriptions do you associate the  instrumental ensembles that you hear? Make TWO crosses (X) in the  appropriate blocks for EACH track. 
Answer:  (4)

6.2.2 Indicate the similarities between the extracts. Refer to the rhythm and  tempo. 
Answer: 

• Repetition of rhythmic patterns 
• Polyrhythms 
• Syncopation 
• Same moderate tempo  (2) 

6.2.3 Identify the vocal techniques that you hear in this extract. 
Answer: 

• Crepitation  
• Ululation  
• Vocal glissando  (2) 

6.3 Listen to the extract and answer the questions that follow. 

6.3.1 Identify the style of South African music. 
Answer: 
Malombo   (1) 

6.3.2 Give TWO reasons, related to the music, to motivate your answer to QUESTION 6.3.1. 
Answer: 

• Fuses musical traditions of the Bapedi and VhaVenda with jazz 
• Typical instruments (flute, African drums, electric guitar) 
• African rhythms provided by percussion instruments 
• Blues influence in melodic line of flute 
• Jazz-based guitar-playing 
• Loose improvised melodic and rhythmic phrases  (2)

6.3.3 With which group/artist do you associate this style of music? 
Answer: 

• Phillip Tabane 
• Phillip Tabane and Malombo  
• Malombo Jazz Men 
• Malombo Jazz Makers 
• Julian Bahula 
• Abby Cindi  (1) 

(16 ÷ 2) [8] 
TOTAL SECTION B: 12

SECTION C: FORM 
QUESTION 7  
Read and study the questions for THREE minutes. 

Listen to Pink Lady while you follow the score. 

7.1 What is the form of this piece? 
Answer: 

• Ternary (with coda)  
• ABA (with coda) 
• Rounded binary  (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. 
Answer:  (4) 

7.3 Follow the music score from bar 62³ to the end. Name the cadence in  bars 70–71. 
Answer: 
Perfect cadence   (1) 

7.4 Follow the music score from bar 0² to bar 14². Notate TWO prominent  rhythmic motifs that occur in this extract.  
(2)   

[8] 

TOTAL SECTION C: 8
GRAND TOTAL: 30