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. 

MARKING GRID

QUESTIONS 

SECTION A: AURAL 
QUESTION 1 (COMPULSORY) 
Play Track 1 FOUR times. Pause for 30 seconds after each repetition. 
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. 
[4]

QUESTION 2 (COMPULSORY) 
Play Track 2 ONCE to provide a general overview. 
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. (1) 

2.2 Fill in the missing notation at 2.2. (3) 

2.3 Identify TWO compositional techniques used at 2.3. (2) 

2.4 What is the main key of this extract? (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. (3) 
2.7 Identify the triad played by the left hand at 2.7, i.e. minor triad. (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.

Character: 
Voice type: (2)

4.1.2 Provide this extract with a suitable title. (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? (1) 
4.2 

4.2.1 Name the composer and genre associated with this extract.

Composer: 
Genre: (2) 

4.2.2 Identify the woodwind instrument playing the triplet figures at the  beginning of this extract. (1) 

4.2.3 Mention TWO ways how tension is created in this extract. (2) 
4.2.4 Which natural phenomenon is portrayed in this extract? (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.  (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. (3) 

(16 ÷ 2) [8] 

OR

QUESTION 5: JAZZ 
5.1 

5.1.1 Identify the keyboard instrument that you hear in this extract. (1) 
5.1.2 With which group do you associate this extract? (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. (2) 

5.2.2 Identify the South African jazz style. (1) 
5.2.3 Give TWO reasons to motivate your answer in QUESTION 5.2.2. (2) 
5.3 

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

Chordophone: 
Aerophone: (2) 

5.3.2 This jive style is known as Kwela. Give TWO alternative names for  this style.  (2)
5.4

5.4.1 Name the female group performing this extract. (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? (2) 

(16 ÷ 2) [8] 

OR

QUESTION 6: IAM 
6.1 

6.1.1 With which South African style do you associate this extract?  (1) 
6.1.2 Name the artist performing this extract. (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 Play Track 20 TWICE. 
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. (1) 
6.2.3 Give ONE term that best describes the use of rhythms between the  vocals and instruments in this extract. (1) 
6.2.4 Except for the use of vocals, name any other TWO instruments that  you hear in this extract. (2)
6.3 

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

Style: 
Group: (2) 

6.3.2 Which traditional dance influenced the basic rhythm for this song  and style of music? (1) 

6.3.3 Name TWO other South African styles that are fused in this  particular style.  (2) 
6.4 Play Track 22 TWICE. 
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? (1) 
7.2 Identify and name the form of this piece. (1) 
7.3 Give a schematic analysis of the form mentioned in QUESTION 7.2 above.  Use LETTERS only to indicate the different sections.  (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?  (1) 
7.6 Say whether the following statement is TRUE or FALSE.  

There is no change in the tonality of this piece.  (1)

TOTAL SECTION C: 8 
GRAND TOTAL: 30

ROUGH WORK: