MUSIC
PAPER 2
GRADE 12 
NSC PAST PAPERS AND MEMOS
FEBRUARY/MARCH 2017

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.
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. 

Answer: 
(3) 

1.2 Which ONE of the extracts below best represents the solo violin part? Make a  cross (X) in the appropriate block. 

(1) 

[4] 

QUESTION 2 

Listen to the extract from Menuet in G by Mozart. Answer the questions that follow.

2.1 The notation of bars 23b–42has been omitted at 2.1 in the score. Fill in the  missing pitches on the score that correspond to the music that you hear. 
Answer: 
   (3) 

2.2 Name the cadence at (a) in bars 73–82. (The track starts in bar 1.)
Answer: 

• Perfect (cadence) (1) 

2.3 Listen to the music in bars 83–122. Which compositional technique is used  at (b)? (The track starts in bar 83.) 
Answer: 

• Sequence
• Rhythmic repetition  (1) 

2.4 Complete the missing bass notes at (c) on the score. (The track starts in  bar 123.) 

Answer:  (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. 

3.1 Listen to the music and indicate ONE feature that you hear. Make a cross (X)  in the appropriate block. 
Answer: 

• String ensemble  (1) 

3.2 Choose any ONE item in COLUMN A and briefly describe in COLUMN B what  you hear. 
Answer: 

(1) 

3.3 Choose any TWO items in COLUMN A and briefly describe in COLUMN B what you hear. 
Answer: 

(2)

3.4 In Tracks 12 and 13 you will hear TWO different performances of the same  piece. Compare these two extracts in terms of the following: 
Answer:  (4) 

(8 ÷2) (4) 
TOTAL SECTION B: 4

Answer QUESTION 4 (WAM) OR QUESTION 5 (JAZZ) OR QUESTION 6 (IAM).
QUESTION 4: WAM 
4.1 Listen to the following extract and answer the questions that follow. 

4.1.1 Name the work from which this extract has been taken. 
Answer: 

• Hebrides Overture 
• Fingal's Cave  (1) 

4.1.2 Identify the tonality of this extract. Make a cross (X) in the  appropriate block. 
Answer: 

• Major  (1) 

4.1.3 Describe the melodic line. 
Answer: 

• Legato/Smooth/Flowing 
• Cantabile/in a singing style/Lyrical
• Rapid crescendos and decrescendos 
• Constant ascending and descending line
• Played by cello section   (2) 

4.1.4 Identify the cadence at the end of this extract. 
Answer: 

• Perfect cadence   (1)

4.2 Listen to the extract from Mozart's The Magic Flute in Track 16 and answer  the questions that follow. 

4.2.1 Name the character who sings in this extract. 
Answer: 

• Sarastro   (1) 

4.2.2 What does this character represent in the opera? 
Answer:  

• Goodness
• Fatherhood
• Reverence  (1) 

4.2.3 Name the voice type that you hear in this extract. 
Answer: 

• Bass   (1) 

4.2.4 Suggest a suitable Italian tempo indication for this extract. 
Answer: 

• Adagio
• Largo  (1) 

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

• Act 2 
• Before Tamino is subjected to the trials  (1) 

4.2.6 Describe what is happening in the storyline at this point. 
Answer: 

• Sarastro sings of the ideals of the Brotherhood after Pamina  pleads for mercy for her mother, the Queen
• Sarastro makes a plea to the Egyptian gods to assist Tamino  during his trials ∙  (1)

4.3 Listen to the extract from Beethoven's Symphony No. 6 in Track 17 and  answer the questions that follow. 

4.3.1 Choose the term that refers to this extract. Make a cross (X) in the  appropriate block. 
Answer:  

• Tutti  (1) 

4.3.2 Name the woodwind instrument which plays the high-pitched  melodic fragment in this extract. 
Answer: 

• Flute (1) 

4.3.3 From which movement of the Symphony No. 6 by Beethoven has  this extract been taken? 
Answer: 

• First movement  (1) 

4.4 Describe TWO style characteristics that you hear in this extract. 
Answer: 

• Homophonic texture 
• Regular phrasing 
• Clear-cut cadences
• Melodic motifs used abundantly
• Concerto genre used (oboe and strings)  (2) 

(16 ÷ 2) [8] 
TOTAL SECTION B: 12 

OR
QUESTION 5: JAZZ 
5.1 Listen to the extracts and answer the questions that follow. 

5.1.1 With which of the following styles would you associate this extract?  Make a cross (X) in the appropriate block. 
Answer: 

• Modern jazz  (1) 

5.1.2 Identify the piece in this extract 
Answer: 

• Shebeen (by Hugh Masekela & The Union of South Africa)  (1) 

5.1.3 Name TWO artists that are associated with the music style in this  extract. 
Answer: 

• Hugh Masekela (Trumpet)
• Jonas Gwangwa (Trombone) 
• Caiphus Semenya (Alto saxophone)  

OR 

•  Hugh Masekela and The Union of South Africa  (2) 

5.1.4 Identify TWO idiophones that are part of the rhythm section in the  music in this extract. 
Answer: 

• Shakers
• Cow bell
• Cymbals 
• Tambourine  (2)

5.2 Listen to the extract in Track 21 and answer the questions that follow. 

5.2.1 Identify the jazz style in this extract. 
Answer: 

• Kwela  (1) 

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

• Cyclic chord structure 
•  Solo player with band
• Lively tempo 
• Skiffle-like beat
• Jive/Swing rhythms
• Melodic material developed in improvisation 
• Pennywhistle   (3) 

5.2.3 Which jazz artist from the 1950s had an influence on this type of  jazz? 
Answer: 

• Spokes Mashiyane 
• Lemmy Mabaso 
• Elias Lerole  (1)

5.3 Listen to the extract in Track 22 and answer the questions that follow. 

5.3.1 Give reasons why you would regard the extract as a typical Cape  jazz piece. 
Answer: 

• Rhythmic characteristics of amaXhosa music
• Ghoema beat 
• Marching and Christmas band harmonies 
• Banjo and guitar rhythms from Kaapse Klopse 
• Specific playing style of piano
• Saxophone produces melody in a nasal tone with vibrato at the  end of phrases 
• Characteristics of Khoi-San mouth bow evident  (3)

5.3.2 Describe the style of saxophone playing in your own words.
Answer: 

• It plays the melody 
• Uses a scooping performance technique
• Plays in the middle register 
• Nasal tone colour used 
• Vibrato at the end of phrases  (2) 

(16 ÷ 2) [8] 
TOTAL SECTION B: 12 

OR

QUESTION 6: IAM 
6.1 Listen to the extracts and answer the questions that follow. 

6.1.1 Identify the style of music in this extract. 
Answer: 

• Free Kiba
• Malombo
• African Jazz  (1) 

6.1.2 Choose the order in which the instruments appear. Make a cross  (X) in the appropriate block. 
Answer: 

(1) 

6.1.3 What is the role of the female voices in this song? 
Answer:  

• Backing vocals
• Response to the 'call' of leader (male) 
• Fills in the harmony  (1) 

6.1.4 What typical African compositional technique is heard in this  extract? 
Answer: 

• Call and response (1)

6.2 Listen to the following TWO tracks which will be played in succession and  answer the questions that follow. 

6.2.1 The TWO extracts have a similar purpose or function. Explain the  purpose and function of the music in these two extracts. 
Answer: 

• Religious or sacred purpose
• Ritualistic
• Communication with Ancestors/God
• Relate to African divinity  (2) 

6.2.2 Indicate ONE group associated with Track 27. Make a tick (X) in  the appropriate block. 

Answer: 

• Amazayoni  (1) 

6.2.3 Describe the use of rhythm in the membranophones. 
Answer: 

• Polyrhythms
• Syncopation
• Repetitive  (1) 

6.2.4 Describe the texture of this song. 
Answer: 

• Overlapping voices 
• Call and response  (1)

6.3 Listen to the extract below and answer the questions that follow. 
6.3.1 With what indigenous South African music style would you  associate this extract? 
Answer: 

• Isicathamiya  (1) 

6.3.2 Which music performance characteristics heard in this extract, are  common to the style of music in 6.3.1? 
Answer: 

• Overlapping voices 
• Male choir/ensemble
• Use of falsetto 
• Repetitive cyclic harmonic progressions  (3) 

6.4 Identify the style of music in this extract. Give TWO reasons for your answers. 
Answer: 

• Style: Mbaqanga 

Reasons:  

• Small ensemble of players 
•  Use of repetitive guitar melodic riffs 
•  Interweaving electric guitar lines repeated throughout
• Guitar introduction 
• Guitar strings have a soft tone quality on electric guitar
• R&B fused with the cyclic structure of Marabi 
• Emphasis on off-beats typical of the style  (3) 

(16 ÷ 2) [8] 
TOTAL SECTION B: 12

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

Listen to the following piece while you study the score.

7.1 What is the overall form of this piece? 
Answer: 

• Ternary form 
•  ABA   (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: 

(3) 
7.3 Name the key of this piece. 
Answer: 

• A minor  (1) 

7.4 Choose the term that describes the mood of this piece. Make a cross (X) in  the appropriate block. 
Answer: 

• Affettuoso  (1) 

7.5 Which compositional technique is used in bars 31–32? (The track starts in  bar 31.) 
Answer: 

• Imitation/Repetition of a three- note motive an octave higher   (1)

7.6 Write down an Italian term which describes what happens to the tempo in  bar 34. (The track starts in bar 33.) 
Answer: 

• Ritardando
• Rallentando   (1) 

[8] 

TOTAL SECTION C: 8 
GRAND TOTAL: 30