MUSIC PAPER 1
GRADE 12
NATIONAL SENIOR CERTIFICATE EXAMINATIONS
MAY/JUNE 2021

INSTRUCTIONS AND INFORMATION

1. This question paper consists of FIVE sections, namely SECTIONS A, B, C, D and E.
2. SECTIONS A and B are COMPULSORY.
3. SECTION C: WESTERN ART MUSIC (WAM), SECTION D: JAZZ and SECTION E: INDIGENOUS AFRICAN MUSIC (IAM) are choice questions. Answer only ONE of these sections (SECTION C or D or E).
4. Write all music notation in SECTION A in pencil and all written text in blue or black ink on this question paper.
5. Answer SECTION B and SECTION C or D or E in blue or black ink in the ANSWER BOOK provided.
6. Number the answers correctly according to the numbering system used in this question paper.
7. The last page of this question paper is manuscript paper intended for rough work. Candidates 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 for each question to provide enough information in their answers.
10. Write neatly and legibly.

SECTION A: THEORY OF MUSIC (COMPULSORY) (90 minutes)
Answer QUESTION 1
AND QUESTION 2.1 OR 2.2
AND QUESTION 3.1 OR 3.2
AND QUESTION 4.1 OR 4.2.
QUESTION 1 (25 minutes)
1.1 Study the extract below and answer the questions that follow.

1.1.1 Name the main key and a relative key of this piece.
Main key:
Relative key: (2)
1.1.2 Name the intervals at (a) and (b) according to type and distance.

1.                     
2.                     (2)

1.1.3 Transpose the solo part at X a major second higher. Insert the new key signature. (3)

1.1.4 Rewrite the solo part at Y in compound quadruple time. Insert the new time signature. Ensure that the music sounds the same. (3)

1.1.5 Name the triads at (c) and (d) according to type and position.
(c)                
(d)                 (2)

1.1.6 Halve the note values and rest in the solo part at Z. Write the answer on the stave below. Insert the new time signature. (2)

1.2 Identify the compositional technique used in each of the passages below.
1.2.1
(1)
1.2.2
(1)
1.3 Identify the scale in each of the extracts below.
1.3.1
(1)
1.3.2
(1)
1.4 Insert the missing notes to complete a blues scale.
(2)
[20]

QUESTION 2 (25 minutes)
Answer EITHER QUESTION 2.1 OR QUESTION 2.2.
2.1 Complete the opening below to form a twelve-bar melody in ternary form for any single-line melodic instrument of your choice. Do not write for voice. Name the instrument and supply a suitable tempo indication. Add dynamic and articulation indications.
Instrument: __________________________
Tempo: __________________________

The melody will be marked according to the following criteria:

[15]
OR
2.2 Complete the opening below to form a twelve-bar melody in ternary form for any single-line melodic instrument of your choice. Do NOT write for voice. Name the instrument and supply a suitable tempo indication. Add dynamic and articulation indications.
Instrument: __________________________
Tempo: __________________________

The melody will be marked according to the following criteria:

[15]

QUESTION 3 (10 minutes)
Answer EITHER QUESTION 3.1 OR QUESTION 3.2.
3.1 Study the extract below and answer the questions.

3.1.1 Which TWO keys are used in this extract? (2)
3.1.2 Figure the chords at (a) to (e) with Roman numerals on the score. Indicate the key, chord and position in each case, e.g. D: iii6/iiib. (5)
3.1.3 Name the key and cadence in bar 5. (1)
3.1.4 Name the types of non-chordal notes at (i) and (ii).

1.               
2.               (2)

[10]
OR
3.2 Study the extract below and answer the questions.

3.2.1 Name the main key of this extract.
_____________________________________________________ (1)
3.2.2 Name the dominant key of this extract.
_____________________________________________________ (1)
3.2.3 Use chord symbols to identify chords (a) to (e). Write the answers above the chords on the score, e.g. C/E. (5)
3.2.4 Name the types of non-chordal notes at (i) and (ii).

___________________________________________________

___________________________________________________ (2)

3.2.5 Name the cadence at the end of this extract. Write the answer in the space provided on the score. (1)
[10]

QUESTION 4 (30 minutes)
Answer EITHER QUESTION 4.1 OR QUESTION 4.2.
4.1 Complete the four-part vocal harmonisation below by adding the alto, tenor and bass parts.

The harmonisation will be marked according to the following criteria:

[15]

OR
4.2 Complete the piece below by adding suitable harmonic material in the open spaces on the stave. Continue in the style suggested by the given material in bar 1.

The answer will be marked according to the following criteria:

[15]
TOTAL SECTION A: 60

SECTIONS B, C, D, E: GENERAL MUSIC KNOWLEDGE (90 minutes)
Answer SECTION B
AND SECTION C (Western Art Music)
OR SECTION D (Jazz)
OR SECTION E (Indigenous African Music).
SECTION B: GENERAL (COMPULSORY)

QUESTION 5
5.1 Various options are provided as possible answers to the following questions/statements. Choose the answer and write only the letter (A–D) next to the question numbers (5.1.1 to 5.1.10) in the ANSWER BOOK, e.g. 5.1.11 E.
5.1.1 A musical motif is a …

1. short introduction to a concerto.
2. small musical unit that forms a building block for a theme.
3. link between two sections in sonata form.
4. contrasting section in rondo form.

5.1.2 The following is both a form and a style:

1. Twelve-bar blues
2. Binary form
3. Verse and chorus
4. AABA form

5.1.3Wh ich ONE of the following descriptions refers to monophonic texture?

1. A melody is played on the cello with woodwind accompaniment
2. A single melody is played unaccompanied by the violin section in an orchestra
3. A single melody is played on a violin together with a different melody on the oboe
4. A hymn for SATB with close-harmony singing

5.1.4 Allegro and largo are related to …

1. tonality.
2. texture.
3. timbre.
4. tempo.

5.1.5 Which of the following groups of instruments are classified as idiophones?

1. Shaker, mbira and marimba
2. Shaker, tambourine and djembe
3. Shaker, sitar and pennywhistle
4. None of the above-mentioned

5.1.6 Harmony is associated with ...

1. chords.
2. choral singing.
3. consonance and dissonance.
4. All the above-mentioned

5.1.7 A baritone singer …

1. mostly uses the falsetto range.
2. is part of a female choir.
3. has a range between a tenor and bass voice.
4. cannot sing a lead role in an opera.

5.1.8 Trombones are typically found in ...

1. Big Bands.
2. Baroque ensembles.
3. Classical orchestras.
4. marimba bands.

5.1.9 Which ONE of the following is NOT a feature of traditional African music?

1. Crepitation
2. Parallel harmonic progression
3. Electrophones
4. Call and response

5.1.10 A minuet is …

1. a fast dance in triple metre.
2. an elegant dance in triple metre.
3. a stately dance in duple metre.
4. a moderate dance in quadruple metre. (10 x 1) (10)

5.2 Choose a description from COLUMN B that matches a term in COLUMN A. Write only the letter (A–G) next to the question numbers (5.2.1 to 5.2.5) in the ANSWER BOOK, e.g. 5.2.6 H.

(5 x 1) (5)
5.3 South Africa has collecting agencies responsible for administering license fees of copyrighted material.
5.3.1 Name ONE such collecting agency for music rights other than SAMRO. (1)
5.3.2 When would you need a licence to perform a song or work composed by somebody else? (2)
5.4 What rights are involved when an mp3 is purchased and downloaded from an online music store? (1)
5.5 Name ONE digital music platform. (1)
TOTAL SECTION B: 20

Related Items

Answer SECTION C (WAM)
OR SECTION D (JAZZ)
OR SECTION E (IAM).
SECTION C: WESTERN ART MUSIC (WAM)

QUESTION 6
6.1 Name ONE woodwind instrument that could be added to the Romantic symphony orchestra in EACH of the following groups:
6.1.1 Flutes
6.1.2 Oboes
6.1.3 Clarinets
6.1.4 Bassoons (2)
6.2 Give the titles of TWO movements in Beethoven's Symphony No. 6 Op. 68. (2)
6.3 In which language was The Magic Flute originally written? (1)
6.4 What is Emanuel Schikaneder's contribution to The Magic Flute? (1)
6.5 In which aria of The Magic Flute does the chorus also sing? (1)
6.6 Define the term concert overture. (3)
[10]

QUESTION 7
7.1 Describe the development section in sonata form. (4)
7.2 Where would you expect to find sonata form in a Classical symphony?(1)
[5]

QUESTION 8
The Hebrides Overture contains both Romantic and Classical features. Indicate whether you agree or disagree with this statement. Support your view with FOUR arguments.
[5]

QUESTION 9
Beethoven contributed significantly to the development of orchestral dynamics in his Symphony No. 6, Op. 68.
Expand on this statement.
[5]

QUESTION 10
In The Magic Flute, Mozart combines elements of opera buffa and opera seria.
Write an essay in which you discuss how EACH of the following music numbers illustrates either the buffa or seria elements:

• Pa-pa-pa-Papageno
• Der Hölle Rache kocht in meinem Herzen (The wrath of hell boils in my heart)

The essay will be marked according to the following criteria:

[15]
TOTAL SECTION C: 40
OR

SECTION D: JAZZ
QUESTION 11
11.1 Answer the following questions by making a cross (X) in the appropriate block.
11.1.1 Which artist is NOT associated with Cape jazz?

(1)
11.1.2 Which group/band is NOT associated with marabi style?

(1)
11.1.3 Which South African jazz artist/band was NOT in exile? (1)

11.2 Describe the use of melody in Robbie Jansen's music. (3)
11.3 List FOUR essential instruments that is typical of a jazz band. (2)
11.4 Choose TWO of the following artists/bands and match them with the correct song. Write only the letter (A–D) next to the question numbers (11.4.1 to 11.4.4) in the ANSWER BOOK, e.g. 11.4.5 E.

[10]

QUESTION 12
Compare the Makgona Tsohle Band with the Soul Brothers. Consider instruments, style and relevant musical elements in your comparison. You may present your answer in table form.
[5]

QUESTION 13
Describe the style characteristics of ONE of the following artists/bands:
Zim Nqawana OR Sakhile OR Spirits Rejoice.
[5]

QUESTION 14
List the style characteristics of kwela.
[5]

QUESTION 15
Two female bands went on to become important exponents in the development of mbaqanga.
Write an essay in which you expand on this statement by discussing the role of ONE of these bands in the development of mbaqanga.
The essay will be marked according to the following criteria:

[15]
TOTAL SECTION D: 40

OR
SECTION E: IAM

QUESTION 16
16.1 Answer the following questions by making a cross (X) in the appropriate block.
16.1.1 Which artist/band is NOT associated with mbaqanga?

(1)
16.1.2 Which instrument does NOT belong in a mbaqanga band?

(1)
16.1.3 Which artist/band is NOT associated with maskandi?

(1)
16.1.4 Which artist/band is NOT associated with malombo?

(1)
16.2 List the musical features in a typical maskanda song. (3)
16.3 Which instrument, not commonly found in other modern African styles, gives the distinctive sound to a mbaqanga band? (1)
16.4 Choose TWO of the following maskanda guitar styles and match them with the correct tuning. Write only the letter (A–C) next to the question numbers (16.4.1 to 16.43) in the ANSWER BOOK, e.g. 16.4.4 D.

(2)
[10]

QUESTION 17
With urbanisation traditional music changed.
Discuss the relevant changes and how they came about.
[5]

QUESTION 18
Compare the style features of malombo and maskanda.
Draw the table below in your ANSWER BOOK and choose FIVE of the following features to include in your comparison.

[5]

QUESTION 19
Describe a typical drum performance in indigenous African music.
[5]

QUESTION 20
Write an essay on isicathamiya by discussing the following aspects:

• ONE Zulu dance that influenced ukucothoza
• Style characteristics
• International popularity

The essay will be marked according to the following criteria:

[15]
TOTAL SECTION E: 40
GRAND TOTAL: 120