MUSIC
GRADE 12
PAPER 2 
NSC PAST PAPERS AND MEMOS
SEPTEMBER 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. Candidates must write their 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 listen to a CD. 
6. The music teacher at the centre must conduct the examination in the presence  of the invigilator.
7. The last page of the 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 (COMPULSORY) 

1.1 Listen to the melodic and rhythmic phrase. Add the time signature. Notate  only the rhythm of the missing notes in bars 2 and 3 below. 

• Correct time signature: 1 mark
• Correct rhythms: 12 notes ÷ 4 = 3 marks [4]

QUESTION 2 (COMPULSORY) 

Listen to the extract from the first movement of Sonatina by F. Kuhlau. Answer the  questions that follow. 

2.1 Identify the non-harmonic note at 2.1. 
Answer:

• Passing note (1) 

2.2 Fill in the missing notation at 2.2. 
Answer: 

6 notes x ½ mark each (both pitch and rhythm should be correct) (3)

2.3 Identify TWO compositional techniques used at 2.3. 
Answer:

• Diminution and Sequence (2)

2.4 What is the main key of this extract? 
Answer:

• G major (1) 

2.5 Which symbol could have been used to replace the small printed notes at  2.5? Make a cross (X) in the appropriate block. 
(1) 
2.6 Would you say that this extract is the concluding section of the Sonatina’s  first movement or not? Give TWO reasons to motivate your answer. 
Answer: No (1 mark) 
Reasons: (Any TWO) 

• There is no modulation/change of key to a relative key.
• The extract ends with a perfect cadence (V7 – I).
• There is a final double bar line at the end of the extract. (2 marks) (3)

2.7 Identify the triad played by the left hand at 2.7, i.e. minor triad. 
Answer:

• Diminished (1)

(12 ÷ 2) [6] 
TOTAL SECTION A: 10 

SECTION B: RECOGNITION OF MUSIC CONCEPTS 
QUESTION 3: GENERAL LISTENING (COMPULSORY) 
Mark THREE items in COLUMN A in QUESTIONS 3.1–3.4 that relate to the music  that you hear. Make a cross (X) in THREE appropriate blocks. 
3.1 

(3) 
3.2 

(3) 
3.3 

(3) 
3.4 

(3) 

(12 ÷ 3) [4]

Answer QUESTION 4 (WAM) OR QUESTION 5 (JAZZ) OR QUESTION 6 (IAM).
QUESTION 4: WAM 
4.1 

4.1.1 Name the character and voice type of the vocalist in this extract. 
Answer: 

• Character: Sarastro (1 mark)
• Voice type: Bass (1 mark) (2)

4.1.2 Provide this extract with a suitable title. 
Answer:

• O Isis und Osiris (1) 

4.1.3 Which term best describes the tempo of this extract? 
Make a cross (X) in the appropriate block. 
(1)
4.1.4 With which style period do you associate this work? 
Answer:

• Classical period (1)

4.2

4.2.1 Name the composer and genre associated with this extract. 

• Composer: Beethoven (1 mark)
• Genre: Symphony (1 mark) (2) 

4.2.2 Identify the woodwind instrument playing the triplet figures at the  beginning of this extract. 
Answer:

• Clarinet (1) 

4.2.3 Mention TWO ways how tension is created in this extract. 
Answer: (Any TWO) 

• The use of timpani/drum rolls.
• Quintoplets in the cellos and quadruplets in the bass.
• Suspenseful crescendo build-up to tutti ff-chords.
• The use of dissonant chords. (2)

4.2.4 Which natural phenomenon is portrayed in this extract? 
Answer:

• A (thunder)storm (1)

4.3 

4.3.1 This extract includes the exclusive use of repetitions and  sequences. Name ONE other compositional device used at the  beginning of the extract.  
Answer:

• Inverted dominant pedal (1) 

4.3.2 What is the time signature for this extract? Make a cross (X) in the  appropriate block. 
(1) 

4.3.3 Comment on the use of tonality in this extract. 
Answer: 

• B minor ✔ to D major ✔ back to B minor ✔
  OR
• Minor key ✔ to Relative major key ✔ back to the Minor key ✔
  OR
• Mainly minor (home key) ✔ with a short modulation to the  relative major key ✔ and back to the home key ✔ (3)

(16 ÷ 2) [8] 

OR
QUESTION 5: JAZZ 
5.1 

5.1.1 Identify the keyboard instrument that you hear in this extract.
Answer:

• Electric organ (1)

5.1.2 With which group do you associate this extract? 
Answer:

• Soul Brothers (1) 

5.1.3 Identify the South African jazz style. Make a cross (X) in the  appropriate block. 
 (1)
5.2 

5.2.1 Name TWO woodwind instruments used in this extract. 
Answer:

• Flute and saxophone (2) 

5.2.2 Identify the South African jazz style. 
Answer:

• Cape Jazz (1)

5.2.3 Give TWO reasons to motivate your answer in QUESTION 5.2.2. 
Answer:  

• The melody is derived from a Ghoema (Kaapse Klopse)  song, “Daar kom die Alibama”.
• Featuring Robbie Jansen, a Cape Jazz saxophonist. (2) 5.3 Play Track 17 TWICE. 

5.3.1 Identify the chordophone and aerophone instrument playing the  introduction of this extract. 

• Chordophone: Double bass OR String bass (1 mark)
• Aerophone: Penny whistle (1 mark) (2) 

5.3.2 This jive style is known as Kwela. Give TWO alternative names for  this style.  
Answer:

• Whistle jive and Sax jive (2)

5.4 

5.4.1 Name the female group performing this extract. 
Answer:

• Mahotella Queens (1) 

5.4.2 Choose ONE word below that best describes the use of drum  patterns in this extract. Make a cross (X) in the appropriate block. 
(1)
5.4.3 How is this style related to Indigenous African music? 
Answer: 

• Make use of simple triads/chords that are repeated as a  harmonic cycle. (1 mark)
• Repeated melody reflects the cyclic and ostinato style of  indigenous African origins. (1 mark) (2)

(16 ÷ 2) [8] 

OR
QUESTION 6: IAM 
6.1 

6.1.1 With which South African style do you associate this extract? 
Answer:

• Malombo jazz (1)

6.1.2 Name the artist performing this extract. 
Answer:

• Philip Tabane (1) 

6.1.3 With which African tribe do you associate this type of music? Make a cross (X) in the appropriate block. 
 (1)
6.2 

6.2.1 With which ONE of the following artists do you associate this  extract? Make a cross (X) in the appropriate block. 
(1) 
6.2.2 Name the style associated with the artist mentioned in QUESTION 6.2.1 above. 
Answer:

• Free Kiba (1) 

6.2.3 Give ONE term that best describes the use of rhythms between the  vocals and instruments in this extract. 
Answer:

• Polyrhythm (1) 

6.2.4 Except for the use of vocals, name any other TWO instruments that  you hear in this extract. 
Answer: 

• Piano, drums, electric guitar, bass guitar, saxophone, acoustic  guitar, percussion (Any TWO) (2)

6.3 

6.3.1 Name the South African style and group associated with this extract. 
Answer: 

• Style: Mbaqanga (1 mark)
• Group: The Cool Crooners (1 mark) (2) 

6.3.2 Which traditional dance influenced the basic rhythm for this song  and style of music? 
Answer:

• Zulu indlamu dance (1)

6.3.3 Name TWO other South African styles that are fused in this  particular style.  
Answer:

• Marabi and Kwela (2)

6.4

Mark THREE items in COLUMN A that is related to Track 22. Make a  cross (X) in THREE appropriate blocks.  

(3) 
(16 ÷ 2) [8] 
TOTAL SECTION B: 12

SECTION C: FORM 
QUESTION 7 (COMPULSORY)

7.1 During which style period was this piece composed? 
Answer:

• Baroque period (1)

7.2 Identify and name the form of this piece. 
Answer:

• Rondo (1) 

7.3 Give a schematic analysis of the form mentioned in QUESTION 7.2 above.  Use LETTERS only to indicate the different sections.  
Answer:

• ABACADAEA
  1 mark for each section (order should be correct) (9 ÷ 3) (3) 

7.4 Which term is used when the full orchestra is playing the main melody with  the soloist? Make a cross (X) in the appropriate block. 
(1) 7.5 Is the bass line played legato or detached?  

Answer:

• Detached (1)

7.6 Say whether the following statement is TRUE or FALSE.  
There is no change in the tonality of this piece. 
Answer:

• False (1)

TOTAL SECTION C: 8 
GRAND TOTAL: 30