MUSIC PAPER 2
GRADE 12
NATIONAL SENIOR CERTIFICATE
SEPTEMBER 2018

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. It may NOT be removed by the candidate.
8. Candidates may NOT have access to any musical instrument for the duration of this examination.
9. Write neatly and legibly.

INSTRUCTIONS TO THE PERSON OPERATING THE SOUND EQUIPMENT

1. The instructions for the music teacher appear in the frames.
2. Each musical extract (track) must be played the number of times specified in the question paper.
3. Allow enough time between tracks to allow candidates time to think and write their answers before playing the next track.
4. The number of the track must be announced clearly each time before it is played.
5. If a school offers more than one stream (WAM, JAZZ, IAM), the following guidelines must be followed:
   
   • Each stream must write the examination in a separate venue.
   • Each venue must be equipped with suitable sound equipment.
   • Each venue must have its own CD with musical extracts.
   • An invigilator must be present in each venue.
   • The tracks have to be played as follows:
     
     • WAM candidates: Tracks 1 to 17 and Tracks 34 to 36.
     • JAZZ candidates: Tracks 1 to 11; Tracks 18 to 25 and Tracks 34 to 36.
     • IAM candidates: Tracks 1 to 11 and Tracks 26 to 36.
6. A battery-powered CD player must be available In case of a power failure.

SECTION A: AURAL
QUESTION 1 (COMPULSORY)
Play Track 1 TWICE in succession.
1.1 Identify the time signature of this extract. Make a cross (X) in the relevant block below.
(1)
Play Track 2 THREE times. Wait 30 seconds between each repetition.
1.2 Listen to the melodic and rhythmic phrase. Notate the rhythm of the missing notes in bars 3 and 4 on the stave below.
(3)
[4]

QUESTION 2 (COMPULSORY)
Play Track 3 ONCE to provide a general overview.
Listen to the melody from Lieder ohne write, Op. 62 no. 1 by F. Mendelssohn and answer the questions that follow.

2.1 Name the main key of this extract. (1)
Play Track 4 ONCE.
2.2 Identify the non-harmonic note at 2.2. (1)
Play Track 5 THREE times. Wait 30 seconds between each repetition
2.3 Listen from bar 4³ and fill in the missing notation at 2.3 on the score. (3)
2.4 On which beat does this extract begin? (1)
Play Track 6 ONCE.
2.5 Which ONE of the following ornaments is used in this extract? Make a cross (X) in the relevant block.

(1)
Play Track 7 ONCE.
2.6 Name the cadence and chords used at the end of the extract. (2)
2.7 Circle a melodic interval of a diminished fifth on the score. (1)
2.8 Give ONE term that best describes the free use of tempo when performing this piece. (1)
2.9 During which style period was this piece composed? (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 Play Track 8 TWICE.

(3)
3.2 Play Track 9 TWICE.

(3)
3.3 Play Track 10 TWICE.

Related Items

(3)
3.4 Play Track 11 TWICE.

(3)
(12 ÷ 3)
[4]

Answer QUESTION 4 (WAM) OR QUESTION 5 (JAZZ) OR QUESTION 6 (IAM).
QUESTION 4: WAM
4.1 Play Track 12 TWICE.
4.1.1 Which ONE of the following illustrates the correct rhythm of the theme that you hear? Make a cross (X) in the relevant block.
Play Track 12 ONCE again.
4.1.2 Is the tonality of this extract major or minor? (1)
Play Track 13 TWICE.
4.1.3 What do the first three opening chords have in common with the tonic key of this extract? (1)
Play Tracks 14 and 15 TWICE in succession.
4.1.4 Compare the theme in Tracks 14 and 15 with regards to articulation and compositional techniques used. Mention ONE difference in articulation, ONE difference in compositional techniques and ONE similarity in compositional techniques.

(3)
4.2 Play Track 16 TWICE.
4.2.1 Identify the characters and voice types singing in this extract.
Character 1:
Character 2:
(2)
4.2.2 To which subgenre of opera music does this extract belong to? (1)
4.2.3 Name the title of the opera and the composer. (2)
4.3 Play Track 17 TWICE.
4.3.1 Describe this work with regards to instrumentation, genre and style period.
Instrumentation:
Genre:
Style period:
(3)
Play Track 17 ONCE again.
4.3.2 Identify the texture used in this extract. (1)
4.3.3 Provide this extract with a suitable title. (1)
(16 ÷ 2)
[8]
OR

QUESTION 5: JAZZ
5.1 Play Track 18 ONCE.
5.1.1 Name the artist performing in this extract. (1)
Play Track 19 ONCE.
5.1.2 Identify the chordophone instrument playing in the beginning of this extract. (1)
Play Track 20 TWICE.
5.1.3 Comment on the use of harmonic chord progression used in this work. (2)
5.1.4 Provide this extract with a suitable title. (1)
5.2 Play Track 21 TWICE.
5.2.1 Choose the correct combo of instruments used in this extract. Make a cross (X) in the relevant block.

(1)
Play Track 22 TWICE.
5.2.2 Name TWO rhythmical devices used on the percussion instrument. (2)
5.2.3 Give ONE term for the melodic material created on the solo instruments. (1)
Play Track 22 ONCE again.
5.2.4 With which group do you associate this extract? (1)
5.3 Play Tracks 23 and 24 TWICE in succession.
5.3.1 Listen to Tracks 23 and 24 and choose TWO correct features that correspond with each extract that you hear. Make a cross (X) next to TWO features.

(4)
Play Track 25 TWICE.
5.3.2 With which artist and jazz style do you associate this track?
Artist:
Jazz style:
(2)
(16 ÷ 2)
[8]
OR

QUESTION 6: IAM
6.1 Play Track 26 TWICE.
6.1.1 Describe the music with regards to genre, instrumentation and artist/group.
Genre:
Instrumentation:
Artist/Group:
(3)
Play Track 27 ONCE.
6.1.2 Identify TWO vocal techniques used as ornamentation in this extract. (2)
Play Track 28 ONCE.
6.1.3 Which typical characteristic of African music features predominantly between the voices? Make a cross (X) in the appropriate block.

(1)
6.2 Play Track 29 ONCE.
6.2.1 Name the South African style associated with this extract. (1)
6.2.2 With which African tribe do you associate this music? (1)
Play Track 29 ONCE again.
6.2.3 Give a term for the instrumental introduction used in this style of music. (1)
6.2.4 Name ONE other South African style in which the concertina features predominantly. (1)
6.3 Play Track 30 TWICE.
6.3.1 Name the woodwind instrument that features in this extract. (1)
6.3.2 Which other typical African instrument does the instrument mentioned in QUESTION 6.3.1 imitate? (1)
Play Track 31 ONCE.
6.3.3 Name ONE characteristic of Marabi music that is heard in this extract. (1)
Play Track 32 TWICE.
6.3.4 Comment on the use of rhythms in the two accompanying guitar parts (lower guitar and higher guitar).
Lower guitar:
Higher guitar:
(2)
Play Track 33 ONCE.
6.3.5 Name the group that performs in this extract. (1)
(16 ÷ 2)
[8]
TOTAL SECTION B: 12

SECTION C: FORM
QUESTION 7 (COMPULSORY)
Play Track 34 ONCE to provide an overview.
Play Track 34 ONCE again.
7.1 What type of ensemble is used in this work? (1)
7.2 Identify the form of this work. (1)
7.3 Indicate the sections of the form mentioned in QUESTION 7.2 using CAPITAL LETTERS on the score. (3)
Play Track 35 TWICE.
7.4 Listen to the thematic material used in bars 03 – 42. Mention ONE similarity and ONE difference in the use of the thematic material.
Similarity:
Difference:
(2)
Play Track 36 TWICE.
7.5 Listen to bars 16³ – 24 and name the key and cadence used at the end of the extract. (1)
TOTAL SECTION C: 8
GRAND TOTAL: 30