ENGLISH FIRST ADDITIONAL LANGUAGE
PAPER 3
GRADE 12 
NSC PAST PAPERS AND MEMOS
NOVEMBER 2016

INSTRUCTIONS AND INFORMATION 

1. This question paper consists of THREE SECTIONS:
   SECTION A: Essay (50) 
   SECTION B: Longer Transactional Text (30)
   SECTION C: Shorter Transactional Text (20)
2. Answer ONE question in EACH section.
3. Write in the language in which you are being assessed.
4. Start EACH section on a NEW page.
5. You must plan (e.g. using a mind map/diagram/flow chart/key words), edit and  proofread your work. The plan must appear BEFORE each text.
6. All planning must be clearly indicated as such. It is advisable to draw a line  through all planning.
7. You are strongly advised to spend approximately:
   SECTION A: 80 minutes 
   SECTION B: 40 minutes
   SECTION C:  30 minutes
8. Number the answers correctly according to the numbering system used in this  question paper.
9. Write down the title/heading of each response. Give your own title/heading if  one has not been provided. 
10. The title/heading must NOT be included when doing a word count. 
11. Write neatly and legibly.

QUESTIONS

SECTION A: ESSAY 
QUESTION 1 

• Write an essay of between 250 and 300 words in length on ONE of the following  topics.  
• Write down the number and title of the essay you have chosen, for example  1.1 It was just a second, but it changed everything. 
• Give your own title if your choice is QUESTION 1.2, 1.7.1 OR 1.7.2. 
• Spend approximately 80 minutes on this section.  

1.1 It was just a second, but it changed everything. [50]
1.2 As I sit here … [50] 
1.3 'Many people will walk in and out of your life but only true friends leave  footprints in your heart.' – Eleanor Roosevelt [50] 
1.4 What a match! [50] 
1.5 Your education does not amount to anything if it does not build your  character. [50] 
1.6 A happy family is the foundation of a stable society. [50] 
1.7 Choose ONE of the following pictures and write an essay on a topic that  comes to mind. Write the question number (1.7.1 OR 1.7.2) and give your  essay a suitable title.  
NOTE: There must be a clear link between your essay and the picture you have chosen. 

1.7.1  
                                                       [Source: Google Images] [50]
1.7.2     
                                                      [Source: SAWUBONA, October 2015] [50]

TOTAL SECTION A:  50

SECTION B: LONGER TRANSACTIONAL TEXT 
QUESTION 2 

• Respond to ONE of the following transactional writing tasks. 
• The body of your response should be between 120 and 150 words in length. Write down the number and the heading of the text you have chosen, for example  2.1 FRIENDLY LETTER. 
• Pay particular attention to format, language and register. 
• Spend approximately 40 minutes on this section. 

2.1 FRIENDLY LETTER 
A close family member who works away from home has stopped visiting at  the end of each month. 
Write a letter to this family member to encourage him/her to visit more often. [30]
2.2 COVERING LETTER 
The following is an extract from the Curriculum Vitae of Frederick Jimmy  Manolo, a 24-year-old male, who is currently working as an assistant administration clerk at a sports shop.

Frederick has come across an advertisement for the position of a senior  administration clerk at Centurion Sport Shop and will submit his full CV as  well as other relevant documents with his application. The application will be  sent to the manager of Centurion Sport Shop.  
Using the format of a formal letter, write the covering letter Frederick will  send with his application. [30]

2.3 MAGAZINE ARTICLE 
Strained relationships are often caused by misunderstandings between  parents and teenagers. As the chairperson of the youth support group at your  school, you have decided to write an article on what can be done to improve  relationships between parents and teenagers. This article will appear in a  teenage magazine. 
Write out your article. [30]

2.4 DIALOGUE 
On their way to school, two friends find a wallet with a large amount of money.  One wants to keep the money and not return the wallet to the owner, but the  other is against the idea.  
Write the dialogue that takes place between the friends. Include a brief  scenario/context before the dialogue. 
NOTE: Use the dialogue format. [30]

TOTAL SECTION B: 30 

SECTION C: SHORTER TRANSACTIONAL TEXT 
QUESTION 3 

• Choose ONE of the following topics and write a short text.  
• The body of your response should be between 80 and 100 words in length. 
• Write down the NUMBER and the HEADING of the text you have chosen, for  example, 3.1 POSTER. 
• Spend approximately 30 minutes on this section. 

3.1 POSTER 
A company is running a poster competition in order to promote recycling in  your community. 
You have decided to enter the poster competition. 
Write out the content of your poster. 
NOTE: Do NOT include illustrations or drawings. [20]

3.2 DIARY ENTRIES 
You are uncertain about whether to study or to work after completing  Grade 12. You consulted with your Life Orientation teacher for advice on the  matter.  
Write out TWO diary entries expressing your feelings before and after  speaking to your Life Orientation teacher. [20] 

3.3 INSTRUCTIONS 
Your younger brother or sister has to deliver a speech as part of his or her English oral examination. Provide a set of instructions on how he or she can  prepare and deliver a good speech.  
Write out the instructions. [20] 

TOTAL SECTION C: 20 
GRAND TOTAL:  100

ENGLISH FIRST ADDITIONAL LANGUAGE
PAPER 2
GRADE 12 
NSC PAST PAPERS AND MEMOS
NOVEMBER 2016

INSTRUCTIONS AND INFORMATION 
Read this page carefully before you begin to answer the questions. 

1. Do NOT attempt to read the entire question paper. Consult the TABLE OF  CONTENTS on the next page and mark the numbers of the questions set on  the texts you have studied this year. Read these questions and choose the  ones you wish to answer.
2. This question paper consists of FOUR sections:
   SECTION A: Novel (35)
   SECTION B: Drama (35)
   SECTION C: Short stories (35)
   SECTION D: Poetry (35)
3. Answer questions from TWO sections, as follows: 
   SECTION A: NOVEL
   Answer the question on the novel that you have studied.
   SECTION B: DRAMA
   Answer the question on the drama that you have studied.
   SECTION C: SHORT STORIES
   Answer the questions on BOTH extracts.
   SECTION D: POETRY
   Answer the questions on BOTH poems.
   Use the checklist on page 4 to assist you.
4. Follow the instructions at the beginning of each section carefully.
5. Number the answers correctly according to the numbering system used in this  question paper.
6. Start EACH section on a NEW page.
7. Spend approximately 60 minutes on each section. 
8. Write neatly and legibly.

TABLE OF CONTENTS

CHECKLIST 
NOTE:  

• Answer questions from ANY TWO sections. 
• Tick (✔) the sections you have answered. 

NOTE: Ensure that you have answered questions on TWO sections only.

QUESTIONS

SECTION A: NOVEL 
In this section, there are questions set on the following novels: 

• TO KILL A MOCKINGBIRD by Harper Lee 
• LORD OF THE FLIES by William Golding 
• A GRAIN OF WHEAT by Ngũgĩ wa Thiong'o 

Answer ALL the questions on the novel that you have studied. 
QUESTION 1: TO KILL A MOCKINGBIRD 
Read the extracts from the novel below and answer the questions set on each. The  number of marks allocated to each question serves as a guide to the expected length  of your answer. 
NOTE: Answer the questions set on BOTH extracts, i.e. QUESTION 1.1 AND  QUESTION 1.2. 
1.1 EXTRACT A 
[Miss Maudie and Scout are having a conversation about Boo Radley.]

1.1.1 Choose a description from COLUMN B that matches the name in  COLUMN A. Write only the letter (A–E) next to the question  number (1.1.1(a)–1.1.1(d)) in the ANSWER BOOK. 

(4) 
1.1.2 State ONE of 'those things they say' about Boo Radley referred to  in line 1. (1)
1.1.3 Refer to lines 5–8 ('Stephanie Crawford even … room for him?'). 

1. Give ONE word which best describes Miss Maudie's tone in  these lines. (1)
2. Explain why Miss Maudie thinks this tone is appropriate when  she addresses Stephanie Crawford. (2) 

1.1.4 Refer to line 10 ('that is a sad house'). 

1. Choose the correct answer to complete the following  sentence. Write only the letter (A–D) next to the question  number (1.1.4(a)) in the ANSWER BOOK. 
   Miss Maudie refers to the Radley house as a 'sad house' and  teaches Scout to be … Boo. 
   1. afraid of
   2. sympathetic towards
   3. patronising towards 
   4. judgemental of (1)
2. State TWO acts of kindness Boo Radley displays to Scout and  Jem. (2) 

1.1.5 Why do the children try to make Boo come out? (1) 
1.1.6 Write down the character trait of Atticus as revealed in lines 20–21  ('Atticus Finch is … the public streets'). (1) 
1.1.7 In your opinion, what makes Atticus an admirable character? Illustrate your views using examples from the novel. (3) 

AND

1.2 EXTRACT B 
[Atticus questions Bob Ewell in court.] 

1.2.1 State who is on trial and for what. (2) 
1.2.2 Quote SIX consecutive words from the first seven lines of the  extract to prove that the following statement is TRUE: 
Bob Ewell is not intimidated by Atticus. (1) 
1.2.3 Explain how the metaphor in lines 8–9 ('he was a red little rooster')  adds to the description of Bob Ewell in this extract. (2) 
1.2.4 Explain how asking Bob Ewell to write his name is an important  part of Atticus's defence of Tom Robinson. (3) 
1.2.5 Refer to the novel as a whole. By using TWO examples of Bob  Ewell's behaviour, explain what is revealed about his character. (4) 
1.2.6 Identify and discuss ONE theme of the novel that becomes evident  during the trial. (3) 
1.2.7 Refer to the novel as a whole. 
Discuss why the title of this novel is relevant. (4)

[35]

QUESTION 2: LORD OF THE FLIES 
Read the extracts from the novel below and answer the questions set on each. The  number of marks allocated to each question serves as a guide to the expected length  of your answer. 
NOTE: Answer the questions set on BOTH extracts, i.e. QUESTION 2.1 AND  QUESTION 2.2. 
2.1 EXTRACT C 
[Jack arrives with a group of boys on the beach.]

2.1.1 Choose a description from COLUMN B that matches the word in  COLUMN A. Write only the letter (A–E) next to the question  number (2.1.1(a)–2.1.1(d)) in the ANSWER BOOK. 

(4) 

2.1.2 Refer to lines 1–4 ('The boy who … the fierce light'). 

1. Why is Jack's badge different from those of the other boys? (1)
2. Using your OWN words, state THREE points that these lines  reveal about the relationship between Jack and the other choir  boys. (3)

2.1.3 Explain why the conch is referred to as 'the trumpet' (line 7). (1) 
2.1.4 By referring to Ralph's behaviour in this extract, explain what is  revealed about his character. State TWO points. (4) 
2.1.5 Explain how the behaviour of the group of cloaked boys changes  when their cloaks are removed later in the novel. (2) 
2.1.6 Discuss why you think it is wise that the boys choose Ralph and  not Jack as their Chief. (3) 

AND

2.2 EXTRACT D 
[Ralph and Piggy talk about the previous night's events.] 

2.2.1 Refer to lines 1–4 ('Don't you understand … was only pretending').

1. What is Ralph referring to? (1)
2. Explain the significance of Ralph and Piggy interrupting each  other in these lines. State TWO points. (2) 

2.2.2 Write down TWO separate words from the extract which suggest  that Ralph both hated and enjoyed the previous night's events. (2) 
2.2.3 Quote FOUR consecutive words from the extract to prove that the  following statement is TRUE: 
Piggy is looking for an excuse for what happened the previous  night. (1)
2.2.4 Choose the correct answer to complete the following sentence.  Write only the letter (A–D) next to the question number (2.2.4) in  the ANSWER BOOK. 
The incident referred to in this extract shows how the boys are  becoming … 

1. realistic. 
2. unrealistic. 
3. civilised. 
4. savage. (1) 

2.2.5 Jack and his tribe later attack Ralph and his group. Explain why  they steal Piggy's glasses and NOT the conch. (3) 
2.2.6 Identify and discuss a theme of the novel which is evident in this  extract. (3) 
2.2.7 Refer to the novel as a whole. 
Refer to Ralph's words in line 20 ('I'm frightened. Of us'). 
Discuss your views on what exactly it is that Ralph is so scared of.  State the reasons for his fear. (4)

[35]

QUESTION 3: A GRAIN OF WHEAT 
Read the extracts from the novel below and answer the set questions. The number of  marks allocated to each question serves as a guide to the expected length of your  answer. 
NOTE: Answer the questions set on BOTH extracts, i.e. QUESTION 3.1 AND  QUESTION 3.2. 
3.1 EXTRACT E 
[Gikonyo goes to see the new MP] 

3.1.1 Choose a description from COLUMN B that matches the name in  COLUMN A. Write only the letter (A–E) next to the question  number (3.1.1(a)–3.1.1(d)) in the ANSWER BOOK. 

(4)
3.1.2 Quote a sentence from the extract to prove that the following  statement is TRUE: 
The people of Thabai are disappointed in their new government. (1) 
3.1.3 Using your OWN words, give TWO examples from the extract to  show that the people of Thabai are still suffering after  independence.(2) 
3.1.4 Refer to the new MP's behaviour in this extract and explain what is  revealed about his character. State TWO points. (4) 
3.1.5 Refer to line 20 ('Gikonyo's heart was … get this loan!'). 
Discuss the new MP's vague response to Gikonyo's request AND  state the reason for this response. (3) 
3.1.6 Refer to the novel as a whole. 
Discuss your view of the way the author of the novel is criticising  Kenya's new government. (4) 

AND

3.2 EXTRACT F 
[Mumbi runs into Karanja.] 

3.2.1 Explain how Gikonyo ends up in hospital. State TWO points. (2)
3.2.2 Refer to lines 5–7 ('I wanted to …you ignored it'). 

1. Why does Mumbi send a note to Karanja? (1) 
2. Choose the correct answer to complete the following  sentence. Write only the letter (A–D) next to the question  number (3.2.2 (b)) in the ANSWER BOOK.
   Karanja hopes the note Mumbi sends is an invitation to …
   1. take him to dinner that night.
   2. go away with her to Githima. 
   3. have a relationship with her. 
   4. have a meeting with her. (1)

3.2.3 Explain why Gikonyo is so bitter about any connection between  Mumbi and Karanja. (2) 
3.2.4 Write down ONE word which best describes Karanja's feelings in  line 11 ('Never?'). (1) 
3.2.5 Refer to lines 28–29 ('she was swallowed … and village huts').

1. Identify the figure of speech used in this line. (1)
2. Explain how the use of this figure of speech adds value to the  description of the relationship between Mumbi and Karanja. (3) 

3.2.6 Identify and discuss ONE theme of the novel which is evident in  this extract. (3) 
3.2.7 By referring to the novel as a whole, discuss why Mumbi can be  seen as the mother of the Kenyan nation. (3)

[35] 
TOTAL SECTION A: 35

SECTION B: DRAMA 
In this section, there are questions set on the following dramas: 

• ROMEO AND JULIET by William Shakespeare 
• NOTHING BUT THE TRUTH by John Kani 

Answer the question on the drama that you have studied. 
QUESTION 4: ROMEO AND JULIET 
Read the extracts from the play below and answer the questions set on each. The  number of marks allocated to each question serves as a guide to the expected length  of your answer. 
NOTE: Answer the questions set on BOTH extracts, i.e. QUESTION 4.1 AND QUESTION 4.2. 
4.1 EXTRACT G 
[Romeo and Juliet meet for the second time.]

4.1.1 Choose a description from COLUMN B that matches an item in  COLUMN A. Write only the letter (A–E) next to the question  number (4.1.1(a)–4.1.1(d)) in the ANSWER BOOK. 

(4) 
4.1.2 Give a reason why 'to Juliet' (line 1) is written in italics. (1)
4.1.3 Refer to line 9 ('Because it is an enemy to thee'). 
Explain why Romeo says his name is an 'enemy' to Juliet. (2)
4.1.4 Refer to lines 17–18 ('And the place … find thee here').

1. Identify Juliet's tone in these lines. (1)
2. Explain why Juliet uses this tone. (2) 

4.1.5 Use your OWN words to show how the metaphor in line 19 ('With  love's light wings did I o'erperch these walls') explains Romeo's  actions in this extract. (1) 
4.1.6 Identify and discuss the theme of the play which is evident in this  extract. (3) 
4.1.7 In your opinion, what evidence is there in the play that Juliet truly  loves Romeo? (3) 

AND

4.2 EXTRACT H 
[Friar Laurence reveals the truth.] 

4.2.1 Explain why the following statement is FALSE: 
Friar Laurence tries to put the blame for all the deaths on Lord  Capulet. (1)
4.2.2 Refer to line 5 ('I married them'). 

1. State the main reason why the Friar has married Romeo and  Juliet. (1)
2. Choose the correct answer to complete the following  sentence. Write only the letter (A–D) next to the question  number (4.2.2(b)) in the ANSWER BOOK.
   In spite of his involvement, Friar Laurence implies that the  tragedy was mainly caused by …
   1. the long-standing feud. 
   2. Tybalt's aggressiveness. 
   3. the work of fate.
   4. the upcoming marriage. (1) 

4.2.3 Refer to lines 6–8 ('Was Tybalt's doomsday … Tybalt, Juliet  pined'). 

1. Explain how Tybalt meets his 'doomsday'. (2)
2. Explain how Capulet and his wife misinterpret Juliet's  behaviour when she 'pined' for Tybalt (line 8). State THREE  points. (3)

4.2.4 Refer to lines 12–18 ('And with wild … form of death').
By referring to Juliet's behaviour in this extract, use ONE example  to illustrate a character trait. (2) 
4.2.5 State ONE character trait of Romeo and show how his actions on  receiving the news of Juliet's death illustrate this trait. (2) 
4.2.6 How does Friar Laurence show loyalty to Romeo and Juliet despite  their difficulties? (2) 
4.2.7 Discuss your views on how the feud between the Montagues and  Capulets adds to the tragedy in the play. (4)

[35]

QUESTION 5: NOTHING BUT THE TRUTH 
Read the extracts from the play below and answer the set questions. The number of  marks allocated to each question serves as a guide to the expected length of your  answer. 
NOTE: Answer the questions set on BOTH extracts, i.e. QUESTION 5.1 AND  QUESTION 5.2. 
5.1 EXTRACT I 
[Sipho reveals the truth about the affair.]

5.1.1 Choose a description from COLUMN B that matches the name in  COLUMN A. Write only the letter (A–E) next to the question  number (5.1.1(a)–5.1.1(d)) in the ANSWER BOOK. 

(4) 
5.1.2 Refer to lines 1–2 ('What did my … two of you'). 

1. State ONE way in which Mandisa's father caused Sipho  unhappiness when they were still young boys living with their  parents. (1)
2. What happened between the two brothers that caused the  final separation? (1) 

5.1.3 Explain what Mandisa's behaviour in lines 4–5 ('No! This is … to go  alone') reveals about her background. State TWO points. (2) 
5.1.4 Refer to lines 7–11 ('Stop! No one … never came back?'). 

1. Choose the correct answer to complete the following  sentence. Write only the letter (A–D) next to the question  number (5.1.4 (a)) in the ANSWER BOOK.
   Sipho's tone of voice in line 7 is …
   1. hurtful.
   2. pleading.
   3. authoritative.
   4. calm. (1)
2. Explain why Sipho uses this tone. (1)
3. Identify and discuss the theme which is evident in Sipho's  words in lines 8–10 ('You want to … mother left me?'). (3)

5.1.5 Give a reason why 'sobbing openly' (line 24) is written in italics. (1) 
5.1.6 Discuss your views on why Mandisa's behaviour towards her  uncle, in this extract, is considered unacceptable. (3) 

AND 

5.2 EXTRACT J 
[Thando, Sipho and Mandisa are talking.] 

5.2.1 Refer to line 2 ('No you two go to town and get us some take  aways'). 
Before this extract, Sipho does not allow the girls to go out. Why  does Sipho allow the girls to go out now? (2)
5.2.2 What do lines 6–7 ('We are burying … and father's graves') reveal  about Themba's traditional values? State THREE points. (3) 
5.2.3 Refer to lines 19–20 ('THANDO and MANDISA … wife … it  happened'). 

1. Explain why the following statement is TRUE. State TWO  points.
   Before the conversation in this extract, Mandisa makes it easy  for Sipho to admit that he loves Themba. (2)
2. Write down ONE word which best describes Sipho's feelings in  line 20 ('About my wife … it happened'). (1) 

5.2.4 Sipho talks about his future plans in the last scene. 
Using your OWN words, state what Sipho plans to do. State TWO  points. (2) 
5.2.5 Show how the character of Sipho changes in this play. (4) 
5.2.6 The revelation of the truth in this play brings about reconciliation  and forgiveness. 
Discuss your opinion on this statement. (4)

[35] 
TOTAL SECTION B: 35

SECTION C: SHORT STORIES 
In this section there are questions set on the following short stories: 

• 'THE LUNCHEON' by W Somerset Maugham 
• 'RELATIVES' by Chris van Wyk 

QUESTION 6 
Read the extracts from the TWO short stories below and answer the questions set on  each. The number of marks allocated to each question serves as a guide to the  expected length of your answer. 
NOTE: Answer the questions set on BOTH extracts, i.e. QUESTION 6.1 AND QUESTION 6.2. 
'THE LUNCHEON' 
6.1 EXTRACT K 
[The writer recalls his first meeting with the woman.] 

6.1.1 The writer meets the woman for the second time. 

1. Where does the writer meet the woman for the second time? (1)
2. How does the writer feel at this meeting? Explain why he feels  this way. (3)

6.1.2 Refer to line 4 ('Did I remember?'). 

1. Choose the correct answer to complete the following  sentence. Write only the letter (A–D) next to the question  number (6.1.2(a)) in the ANSWER BOOK.
   When the writer says 'Did I remember?' (line 4), he means 
   he …
   1. A remembers very well.
   2. does not remember. 
   3. is not sure he remembers. 
   4. is trying to remember. (1)
2. Explain why he feels this way. (1) 

6.1.3 In lines 11–13 ('she was spending … at Foyot's afterwards?') the  woman requests that they meet at Foyot's. 

1. Explain why the woman chooses Foyot's for their luncheon. (1) 
2. Using your OWN words, give TWO reasons why the writer  does not object to her choice of restaurant. (2) 

6.1.4 State ONE reaction of the writer on seeing the woman for the  FIRST time and illustrate this with an example. (2) 
6.1.5 Name ONE item the writer ordered at the restaurant. (1)
6.1.6 Explain the irony in this story. (2) 
6.1.7 In your opinion, how is the fact that the woman in this short story is  a manipulative character, conveyed to the reader? (3) 

AND

'RELATIVES' 
6.2 EXTRACT L 
[The narrator is alone with the two young men.] 

6.2.1 Refer to lines 1–2 ('On my way … about committing murder'). 

1. Explain why the narrator goes 'down to the Cape'. State TWO  points. (2)
2. State TWO reasons why the narrator believed that Georgie 
   Abrahams 'had joked about committing murder'. (2) 

6.2.2 Refer to lines 5–7 ('You! I looked … voice would allow'). 

1. Why are the two boys on this train? (1)
2. Although the narrator uses a casual tone in line 7, he is  experiencing a different emotion. Name this emotion. (1) 
3. Give a reason for your answer to QUESTION 6.2.2(b). (1)

6.2.3 Explain why the following statement is TRUE. 
The atmosphere between the two boys and the narrator changes after the conversation in the extract. Give TWO points of evidence  from the extract. (2) 
6.2.4 Refer to lines 23–27 ('I opened the … of it all'). 

1. Identify the figure of speech in line 25 ('streets running with the  blood of gangsters'). (1)
2. Identify and discuss the theme evident in these lines. (4) 

6.2.5 The narrator probably has mixed feelings about being related to the  two brothers after reading about their deaths. Discuss your views  on this statement. (4)

[35] 
TOTAL SECTION C: 35

SECTION D: POETRY  
In this section there are questions set on the following poems: 

• 'Death be not proud' by John Donne 
• 'A prayer for all my countrymen' by Guy Butler 

NOTE: Answer the questions set on BOTH poems, i.e. QUESTION 7.1 AND  QUESTION 7.2. 
QUESTION 7 
7.1 Read the poem carefully and then answer the questions which follow. The  number of marks allocated to each question serves as a guide to the  expected length of your answer. 

7.1.1 Refer to the structure of the poem. 

1. What type of sonnet is this? (1)
2. Discuss the structure of this sonnet. (2) 

7.1.2 Identify the figure of speech in lines 1–2 ('Death be not … art not  so') and explain why death is regarded as 'Mighty and dreadful'. (2)
7.1.3 Is the underlined word in line 4 ('poor death') meant LITERALLY or  FIGURATIVELY? Give a reason for your answer. (2)
7.1.4 Refer to lines 5–6 ('From rest and … more must flow'). 
Choose the correct answer to complete the following sentence.  Write only the letter (A–D) next to the question number (7.1.4) in  the ANSWER BOOK. 
In these lines the speaker suggests that death is an experience  which is … 

1. frightening.
2. pleasurable. 
3. harmful. 
4. destructive. (1) 

7.1.5 'Thou art slave to Fate' in line 9 is an example of a metaphor. 
Using your OWN words, explain why the speaker uses this image  here. (2) 
7.1.6 Give ONE word for the speaker's tone in lines 11–12 ('poppy or  charms … swell'st thou then?'). (1) 
7.1.7 Identify and discuss the theme evident in this poem. (3) 7.1.8 Refer to the poem as a whole. 
In your opinion, how does the speaker convince the reader that  Death has no reason to be proud? (3) 

AND

7.2 Read the poem carefully and then answer the questions which follow. The  number of marks allocated to each question serves as a guide to the  expected length of your answer. 

7.2.1 Refer to lines 1–4 ('Though now few … tragic time's complexities').

1. What is the 'tragic time' the speaker refers to? (1)
2. Explain why this time is referred to as 'tragic'. State TWO points. (2)
3. Using your OWN words, give a reason why it was difficult for  people to 'see beyond' this tragic time. (1) 

7.2.2 Explain why the speaker asks God to intervene in lines 5–11. (2) 
7.2.3 Identify the figure of speech in line 12 ('Through rotting days') and  explain this image in the context of the poem. (3) 
7.2.4 Identify the sound device in line 13 ('beaten, broken') and explain  how the image it creates, contributes to the message of the poem. (3)
7.2.5 Some people remained optimistic about the future. 

1. Quote THREE consecutive words to prove this statement  TRUE. (1)
2. Use your OWN words to explain how some people managed  to remain optimistic. (1) 

7.2.6 The title indicates that the speaker thought his countrymen were in  need of his prayer. Why, in your opinion, was this needed? (4)

[35] 
TOTAL SECTION D:  35
GRAND TOTAL:   70

ENGLISH FIRST ADDITIONAL LANGUAGE
PAPER 1
GRADE 12 
NSC PAST PAPERS AND MEMOS
NOVEMBER 2016

INSTRUCTIONS AND INFORMATION 

1. This question paper consists of THREE sections:
   SECTION A: Comprehension (30) 
   SECTION B: Summary (10)
   SECTION C:   Language (40) 
2. Answer ALL the questions.
3. Read ALL the instructions carefully.
4. Start EACH section on a NEW page.
5. Leave a line between answers.
6. Number the answers correctly according to the numbering system used in this  question paper.
7. For multiple-choice questions, write only the question number and the  letter (A–D) of the correct answer.
8. Pay special attention to spelling and sentence construction. 9. Use the following time frame as a guideline:
   SECTION A: 50 minutes
   SECTION B: 30 minutes
   SECTION C: 40 minutes
9. Write neatly and legibly.

QUESTIONS

SECTION A: COMPREHENSION  
QUESTION 1 
Read BOTH TEXT A and TEXT B and answer the set questions. 
TEXT A

1.1 Name TWO beliefs that South Africans have about fast foods. (2) 
1.2 Identify the TWO organisations that worked together on a study which  surveyed the salt content in children's fast food meals in South Africa. (2) 
1.3 Quote a SINGLE word (paragraph 3) to prove that the WASH survey was not  conducted only in South Africa. (1) 
1.4 Explain what is meant by 'leading fast food outlets' (line 9). (2) 
1.5 Explain why is it important for South Africans to take the results of the studies  by TNS Surveys and WASH seriously. (3)
1.6 State TWO South African outlets that participated in the international survey  on the salt content of fast foods. (2) 
1.7 How does the McDonald's chicken nugget meal that is sold in South Africa  differ from the one that is sold in the UK? (2) 
1.8 State TWO steps that have been implemented by the Department of Health  to address the findings of the surveys into salt consumption in South Africa. (2) 
1.9 Why are children eating fast foods in the UK and USA probably healthier than  South African children who eat fast foods? Give a reason for your answer. (2) 
1.10 The passage states that legislation was recently signed to make salt reduction  in the food industry MANDATORY over a period of time. 
Choose the correct answer to complete the following sentence: 
The capitalised word in the sentence above means that the reduction of salt  in the food industry is … 

1. voluntary.
2. compulsory.
3. optional.
4. random. (1) 

1.11 In your view, is this passage effective in influencing the readers to reduce  their salt intake? Substantiate your answer. (3) 
1.12 Discuss the suitability of the title, WITH A PINCH OF SALT. (2)

TEXT B 

[Source: www.weathersa.co.za, 2015] 
Refer to the illustration above (TEXT B). 
1.13 What does the illustration above represent? (1) 
1.14 How does the information given for Saturday differ from that given for Friday?  Give a reason for your answer. (2) 
1.15 Which is the coolest sunny day? (1)
1.16 Discuss whether the visuals accurately convey the message of this text. (2)

TOTAL SECTION A: 30

SECTION B: SUMMARY 
QUESTION 2 
South Africa is facing a water crisis.  
You have been asked to write an article for your local newspaper on how to  save water. 
Read TEXT C below and list SEVEN points that you will include in your article on how to save water. 
INSTRUCTIONS 

1. Your summary must be written in point form.
2. List your SEVEN points in full sentences, using no more than 70 words.
3. Number your sentences from 1 to 7. 
4. Write only ONE point per sentence.
5. Use your OWN words as far as possible.
6. Indicate the total number of words you have used in brackets at the end of your  summary. 

TEXT C 

TOTAL SECTION B: 10

SECTION C: LANGUAGE 
QUESTION 3: ANALYSING AN ADVERTISEMENT 
Study the advertisement (TEXT D) below and answer the set questions. 
TEXT D 

 [Adapted from Drum Magazine, 13 November 2014] 
3.1 Who is the target audience of this advertisement? (1)
3.2 According to this advertisement, how can one avoid hay fever and allergies? (1) 
3.3 Discuss the techniques that the advertiser uses to convey the idea of a horror  movie. 
NOTE: In your answer, refer to the visual and verbal techniques. (2)
3.4 Refer to the line, 'Get the tissues ready for …' 
Explain why ellipsis has been used here. (1) 
3.5 Give the singular form of the underlined word in the following: 
Dr Reddy's Laboratories (1)
3.6 Explain what 'Starts 1 September' refers to. (2) 
3.7 Discuss the effectiveness of this advertisement. (2) [10]

QUESTION 4: ANALYSING A CARTOON 
Read the cartoon (TEXT E) below and answer the set questions.  
TEXT E 

4.1 Refer to FRAME 1.  

4.1.1 Where does the conversation between Blondie and her neighbour  take place?  (1) 
4.1.2 State ONE visual clue which has made the neighbour conclude  that there is a problem with the lawnmower. (1) 
4.1.3  State the TWO meanings of 'the starter' that Blondie is referring to. (2) 

4.2 Complete the following tag question. 
The lawnmower is broken, ... ? (1)
4.3 Choose the correct answer to complete the following sentence: In FRAME 3, Dagwood is sleeping in a … 

1. bed.
2. swing. 
3. hammock.
4. cot. (1)

4.4 Identify the clues which indicate that Dagwood is fast asleep. (2) 
4.5 Is Blondie's calm tone an appropriate reaction to what is happening in  FRAME 3? Discuss your opinion. (2) [10]

QUESTION 5: LANGUAGE AND EDITING SKILLS 
5.1 Read the passage (TEXT F) below, which has some deliberate errors, and  answer the set questions.  
TEXT F 

5.1.1 Correct the SINGLE error in each of the following sentences. Write  down ONLY the question numbers and the words you have  corrected. 

1. Sand, surf and sun are good for the soul but their horrible for  your cellphone. (1)
2. You need something substantial to keep it save from the  elements.  (1)
3. A strong case should have two lines in defence.  (1)
4. Keep your device in the shade is the best defence. (1)

5.1.2 Replace 'bunch' in the following sentence with a more suitable  collective noun.  
Few things in life say relaxation like a bunch of good books and a  beach blanket on a sunny afternoon. (1) 
5.1.3 Rewrite the following sentence as a question. 
You're right to hesitate. (1)
5.1.4 Choose the correct answer to complete the following sentence:
Sand, surf and sun (line 5) is an example of … 

1. personification. 
2. alliteration. 
3. onomatopoeia.
4. metaphor. (1)

5.1.5 Rewrite the following sentence in reported speech: 
She said, 'Tomorrow I will spend the day at the beach.' (4)
5.1.6 Rewrite the following sentence in the passive voice: 
Heat can cause serious damage. (1) 
5.1.7 Study the following sentence and use a homonym for the word  'case' in a sentence of your own: 
Regardless of the case you choose, if waterproofing is your  primary need, get a shockproof, water-resistant case. (1) 
5.1.8 Study the following sentence and give a synonym for the word  'perils' in the following sentence: 
None of these cases, though, will protect your cellphone against  the perils of heat and direct sunlight. (1)

5.2 Study the text (TEXT G) below and answer the questions. 
TEXT G 

 [Source: Indwe, October 2015] 

5.2.1 Complete the following sentence by filling in the missing word: 
'Eye Spy' is an example of a pun. The writer has used the word 'eye' instead of ... (1) 
5.2.2 Provide an antonym for the underlined word in the following  sentence: 
Eye examinations are important. (1)
5.2.3 Rewrite the following sentence in the simple future tense: 
National Eye Care Awareness Month is taking place until  18 October. (1)
5.2.4 Remove the contraction in the following sentence: 
It's worth making time to take proper care of your eyes. (1) 
5.2.5 Rewrite the following sentence by giving the correct form of the word  in brackets: 
Make your eye health a (prioritise). (1)
5.2.6 Provide the correct degree of comparison in the following sentence: 
It is (health) to have your eyes tested once a year than every second  year. (1)

[20] 
TOTAL SECTION C: 40 
GRAND TOTAL:  80

MUSIC
PAPER 2
GRADE 12 
NSC PAST PAPERS AND MEMOS
NOVEMBER 2016

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. 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

QUESTIONS

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. 

  (3) 

1.2 Which ONE of the extracts below corresponds to the melody that you hear? Make a cross (X) in the appropriate block. 
The extract starts with a two-bar click track. 

(1) 

[4]

QUESTION 2 

Listen to the extract from My Favourite Things. Answer the questions that follow. 

2.1 Identify the difference(s) in articulation between bars 1–8 and bars 9–16. (1) 

2.2 The notation of bars 9 and 10 has been omitted at 2.2 in the score. Fill in the  missing pitches that correspond to the melody that you hear. (The track starts  in bar 5.) (3) 

2.3 Which interval is formed between the two notes in the block at 2.3? (The track  starts in bar 13.) (1) 
2.4 Name the cadence with which the extract ends. (1) 

[6] 

TOTAL SECTION A: 10

SECTION B: RECOGNITION OF MUSIC CONCEPTS 
QUESTION 3: GENERAL LISTENING (COMPULSORY)  
3.1 You will hear TWO different performances of the same piece: Track 8 and  Track 9. Listen to these extracts and answer the questions that follow. 

Compare these two extracts in terms of the following:   (3) 

3.2 Indicate only ONE feature that you hear in EACH of these tracks. Make a  cross (X) in the appropriate block.   (2)

3.3 Name any THREE features that indicate that this piece is typically African. (3) 

(8 ÷ 2) [4]

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

4.1 Listen to the extracts from The Magic Flute by Mozart and answer the  questions that follow. 

4.1.1 With which subgenre in opera music do you associate this extract? (1) 
4.1.2 Name the character who sings in this extract. (1) 
4.1.3 Where in the opera is this extract sung? (1) 
4.1.4 Name the idiophone that you hear in this extract. (1) 

4.1.5 Which Italian term best describes the tempo changes at the end of  this extract? (1) 

4.1.6 The time signature changes in this extract. Identify the new (second)  time signature. Make a cross (X) in the appropriate block.   (1)

4.1.7 Listen to a section of the overture to The Magic Flute. How does this  extract succeed in setting the mood of the opera? (2) 

4.1.8 Describe the texture of this extract. (1) 

4.2 Listen to the extracts below from Beethoven's Symphony No. 6 and answer  the questions that follow. 

4.2.1 What is the function of this extract in Beethoven's Symphony No. 6? (1) 

4.2.2 Listen to the higher-pitched instruments in this extract. Choose the  correct description below that corresponds to the music. Make a cross (X) in the appropriate block.  (1)

4.2.3 Which TWO of the following Italian terms apply to the music you  hear? Make a cross (X) in TWO appropriate blocks.  (2) 

4.3 Listen to the following extract by Mendelssohn. Answer the question that  follows. 

Indicate THREE items in the list below that are CORRECT in relation to the  music that you hear. Make a cross (X) in THREE appropriate blocks.   (3) 

(16 ÷ 2) [8] 
TOTAL SECTION B: 12 

OR

QUESTION 5: JAZZ 
5.1 Listen to the extracts below by The Brotherhood of Breath and answer the  questions that follow. 

5.1.1 Identify the jazz category. Make a cross (X) in the appropriate block. (1) 

5.1.2 Describe the mood of this extract by referring to the tonality. (1) 
5.1.3 Name ONE membranophone that you hear in the introduction. (1) 

5.1.4 Between which instruments/instrumental sections does the call and  response feature in this extract? (1) 
5.1.5 Describe TWO characteristics of this piano-playing style. (2) 
5.1.6 Name another band that is linked to this style of jazz. (1)

5.2 Listen to Spirits Rejoice and answer the questions that follow. 

5.2.1 Identify the jazz style. (1) 
5.2.2 Give reasons related to the music to motivate your answer to  QUESTION 5.2.1. (2) 
5.2.3 Name ONE other artist/band that you associate with this style of  music. (1) 

5.2.4 Which solo instrument do you hear in this extract? (1) 

5.3 You will hear TWO music extracts: Track 27 and Track 28. Listen to these extracts and answer the question below. 

Identify the music style of EACH extract and give ONE reason for EACH  answer. 
Track 27 

Style:
Reason:(2)

Track 28 

Style:
Reason:(2)

(16 ÷ 2) [8] 
TOTAL SECTION B: 12 

OR

QUESTION 6: IAM 
6.1 You will hear TWO tracks: Track 29 and Track 30. Listen to these tracks and  answer the question below. 

Identify the music style of EACH extract and give ONE reason for EACH  answer. 
Track 29 

Style:
Reason:(2)

Track 30 

Style:
Reason:(2)

6.2 You will hear TWO tracks: Track 31 and Track 32. Listen to these tracks and  answer the question that follows. 

6.2.1 With which of the following descriptions do you associate the  instrumental ensembles that you hear? Make TWO crosses (X) in the  appropriate blocks for EACH track.  (4)

6.2.2 Indicate the similarities between the extracts. Refer to the rhythm and  tempo. (2) 

6.2.3 Identify the vocal techniques that you hear in this extract. (2) 

6.3 Listen to the extract and answer the questions that follow. 

6.3.1 Identify the style of South African music. (1) 
6.3.2 Give TWO reasons related to the music to motivate your answer to QUESTION 6.3.1. 

Reason 1: 
Reason 2:  (2) 

6.3.3 With which group/artist do you associate this style of music? (1) 

(16 ÷ 2) [8] 
TOTAL SECTION B: 12

SECTION C: FORM 
QUESTION 7  
Read and study the questions for THREE minutes. 

Listen to Pink Lady while you follow the score. 

7.1 What is the form of this piece? (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.  (4) 

7.3 Follow the music score from bar 62³ to the end. Name the cadence in  bars 70–71. (1) 

7.4 Follow the music score from bar 0² to bar 14² . Notate TWO prominent  rhythmic motifs that occur in this extract.  (2) 

[8] 

TOTAL SECTION C: 8
GRAND TOTAL: 30

MUSIC
PAPER 2
GRADE 12 
NSC PAST PAPERS AND MEMOS
NOVEMBER 2016

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. 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. 
  

(3) 

1.2 Which ONE of the extracts below corresponds with the melody that you hear? Make a cross (X) in the appropriate block. 
The extract starts with a two-bar click track. 
(1) 

[4] 

QUESTION 2 

Listen to the extract from My Favourite Things. Answer the questions that follow. 

2.1 Identify the difference(s) in articulation between bars 1–8 and bars 9–16. 

Answer: 

• Bars 1–8 two-note slurs (beat 1 and 2), staccato on beat 3 
• Bars 9–16 legato (smoothly-connected notes)  (1) 

2.2 The notation of bars 9 and 10 has been omitted at 2.2 on the score. Fill in the  missing pitches that correspond with the melody that you hear. (The track  starts in bar 5.) 
(3) 

2.3 Which interval is formed between the two notes in the block at 2.3? (The track  starts in bar 13.) 
(1) 

2.4 Name the cadence with which the extract ends. 
Answer: 
Imperfect or Half (cadence) (1) 

TOTAL SECTION A: 10

SECTION B: RECOGNITION OF MUSIC CONCEPTS 
QUESTION 3: GENERAL LISTENING (COMPULSORY)  
3.1 You will hear TWO different performances of the same piece: Track 8 and  Track 9. Listen to these extracts and answer the questions that follow. 

Compare these two extracts in terms of the following: 
Answer:  (3) 

3.2 Indicate only ONE feature that you hear in EACH of these tracks. Make a  cross (X) in the appropriate block.  
 Answer: 

(2)

3.3 Name any THREE features that indicate that this piece is typically African. 
Answer: 

• Call and response 
• Polyrhythms 
• Repetition 
• African drumming 
• Pentatonic scale used 
• Syncopation 
• Cyclic structure 
• African language  (3) 

(8 ÷ 2) [4]

Answer QUESTION 4 (WAM) OR QUESTION 5 (JAZZ) OR QUESTION 6 (IAM).
QUESTION 4: WAM 
4.1 Listen to the extracts from The Magic Flute by Mozart and answer the  questions that follow. 

4.1.1 With which subgenre in opera music do you associate this extract? 
Answer: 
Aria or Singspiel  (1) 

4.1.2 Name the character who sings in this extract. 
Answer: 
Papageno or Bird catcher  (1) 

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

• Act 2 (Scene 5)  
• Towards the end of the opera when Papageno is confined in  Sarastro’s temple  (1) 

4.1.4 Name the idiophone that you hear in this extract. 
Answer: 

• Celesta 
• Glockenspiel or Metallophone 
• Glass harmonica 
• Bell  
• Music box  (1) 

4.1.5 Which Italian term best describes the tempo changes at the end of  this extract? 
Answer: 

• Ritardando or Rit. 
• Rallentando or Rall. 
• Ritenuto or Rit.  (1)

4.1.6 The time signature changes in this extract. Identify the new (second)  time signature. Make a cross (X) in the appropriate block. 
Answer: 
^6 
8            (1)

4.1.7 Listen to a section of the overture to The Magic Flute. How does this  extract succeed in setting the mood of the opera? 
Answer: 

• 3 chords
  • links with 3 knocks, 3 doors, 3 pillars 
  • Symbolic number (Masonic influence)
• Slow majestic, grand, misterious chords 
  • links with formal serious moral issues (light and dark, good and  evil)
• Polyphonic section 
  • link to complexity of the opera
• Staccatos, syncopation, quick tempo 
  • links to Queen of the Night aria 
  • lighter moments and playful nature of some characters  (2) 

4.1.8 Describe the texture of this extract. 
Answer: 

• Starts homophonic/chordal followed by polyphonic/contrapuntal  texture  
• Homophonic first section/Polyphonic second section  (1) 

4.2 Listen to the extracts below from Beethoven's Symphony No. 6 and answer  the questions that follow. 

4.2.1 What is the function of this extract in Beethoven's Symphony No. 6? 
Answer: 

• The linking passage between the fourth (The Storm) and fifth  (Shepherd’s Song) movements 
• Uninterrupted flow of musical ideas linking one programmatic  scene to the next (1) 

4.2.2 Listen to the higher-pitched instruments in this extract. Choose the  correct description below that corresponds with the music. Make a  cross (X) in the appropriate block. 
Answer:  (1) 

4.2.3 Which TWO of the following Italian terms apply to the music you  hear? Make a cross (X) in TWO appropriate blocks. 
Answer:  (2)

4.3 Listen to the following extract by Mendelssohn. Answer the question that  follows. 

Indicate THREE items in the list below that are CORRECT in relation to the  music that you hear. Make a cross (X) in THREE appropriate blocks. 
Answer:  (3) 

(16 ÷ 2) [8] 
TOTAL SECTION B: 12 

OR

QUESTION 5: JAZZ 

5.1 Listen to the extracts below by The Brotherhood of Breath and answer the  questions that follow. 

5.1.1 Identify the jazz category. Make a cross (X) in the appropriate block. 
Answer:  
Jazz in exile   (1) 

5.1.2 Describe the mood of this extract by referring to the tonality. 
Answer: 

• Major key 
• Upbeat/jolly mood  (1) 

5.1.3 Name ONE membranophone that you hear in the introduction. 
Answer: 

• Conga drums or Djembe 
• Any drums, part of the drum kit that is a membranophone  (1) 

5.1.4 Between which instruments/instrumental sections does the call and  response feature in this extract? 
Answer: 
Between brass/horn section and piano   (1) 

5.1.5 Describe TWO characteristics of this piano-playing style. 
Answer: 

• Lots of repeated notes typical of South African music 
• Percussive tone quality 
• Chordal comping 
• Fragmented melodic line   (2)

5.1.6 Name another band that is linked to this style of jazz. 
Answer: 

• The Blue Notes  
• The Jazz Epistles 
• Union of (South) Africa  (1) 

5.2 Listen to Spirits Rejoice and answer the questions that follow. 

5.2.1 Identify the jazz style. 
Answer: 

• Jazz at home/South African Jazz 
• Jazz Fusion 
• Afro Jazz 
• Jazz Funk  (1) 

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

• Mixing funk with rhythm and blues elements 
• Wind/brass section playing arranged lines (Big Band) 
• Pop/rock influences in drum kit and percussion 
• Prominent electric bass line   (2) 

5.2.3 Name ONE other artist/band that you associate with this style of  music. 
Answer: 

• Sakhile 
• Sipho Gumede 
• Bheki Mseleku 
• Union of (South) Africa 
• Blood, Sweat & Tears (International) 
• Zim Nqawana    (1)

5.2.4 Which solo instrument do you hear in this extract? 
Answer:  
Trumpet/Cornet/Flugel horn  (1) 

5.3 You will hear TWO music extracts: Track 27 and Track 28. Listen to these  extracts and answer the question below. 

Identify the music style of EACH extract and give ONE reason for EACH  answer. 
Answer: 

OR

 (4) (16 ÷ 2) [8] 
TOTAL SECTION B: 12 

QUESTION 6: IAM 
6.1 You will hear TWO tracks: Track 29 and Track 30. Listen to these tracks and  answer the question below. 

Identify the music style of EACH extract and give ONE reason for EACH  answer. 
Answer:   (4) 

6.2 You will hear TWO tracks: Track 31 and Track 32. Listen to these tracks and  answer the question that follows. 

6.2.1 With which of the following descriptions do you associate the  instrumental ensembles that you hear? Make TWO crosses (X) in the  appropriate blocks for EACH track. 
Answer:  (4)

6.2.2 Indicate the similarities between the extracts. Refer to the rhythm and  tempo. 
Answer: 

• Repetition of rhythmic patterns 
• Polyrhythms 
• Syncopation 
• Same moderate tempo  (2) 

6.2.3 Identify the vocal techniques that you hear in this extract. 
Answer: 

• Crepitation  
• Ululation  
• Vocal glissando  (2) 

6.3 Listen to the extract and answer the questions that follow. 

6.3.1 Identify the style of South African music. 
Answer: 
Malombo   (1) 

6.3.2 Give TWO reasons, related to the music, to motivate your answer to QUESTION 6.3.1. 
Answer: 

• Fuses musical traditions of the Bapedi and VhaVenda with jazz 
• Typical instruments (flute, African drums, electric guitar) 
• African rhythms provided by percussion instruments 
• Blues influence in melodic line of flute 
• Jazz-based guitar-playing 
• Loose improvised melodic and rhythmic phrases  (2)

6.3.3 With which group/artist do you associate this style of music? 
Answer: 

• Phillip Tabane 
• Phillip Tabane and Malombo  
• Malombo Jazz Men 
• Malombo Jazz Makers 
• Julian Bahula 
• Abby Cindi  (1) 

(16 ÷ 2) [8] 
TOTAL SECTION B: 12

SECTION C: FORM 
QUESTION 7  
Read and study the questions for THREE minutes. 

Listen to Pink Lady while you follow the score. 

7.1 What is the form of this piece? 
Answer: 

• Ternary (with coda)  
• ABA (with coda) 
• Rounded binary  (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:  (4) 

7.3 Follow the music score from bar 62³ to the end. Name the cadence in  bars 70–71. 
Answer: 
Perfect cadence   (1) 

7.4 Follow the music score from bar 0² to bar 14². Notate TWO prominent  rhythmic motifs that occur in this extract.  
(2)   

[8] 

TOTAL SECTION C: 8
GRAND TOTAL: 30

MUSIC
PAPER 1
GRADE 12 
NSC PAST PAPERS AND MEMOS
NOVEMBER 2016

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 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.

MARKING GRID 

AND 

AND 

OR 

OR 

MEMORANDUM

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. 
Answer the questions in the spaces provided on this question paper. 

QUESTION 1 (25 minutes)
Study the extract below and answer the questions that follow.

1.1 Name the main key of this piece. 
Answer: 
G major / G 

(1) 

1.2 Name the intervals at 1.2.1 and 1.2.2 according to type and distance. 
Answer: 

1.2.1 Minor 7th 
1.2.2 Major 3rd 

(2) 

1.3 Name the triads at 1.3.1 and 1.3.2 according to type and position/inversion. 
Answer: 

1.3.1 Major – second inversion/ IV64/IVc 
1.3.2 Minor – root position/iii 

(2) 
1.4 Rewrite the violoncello part of bar 7 in compound time. Add the new time  signature. 
 

(3)
1.5 Transpose the violoncello part of bars 43–62 a tone (major second) higher.  Insert the new key signature. 
Answer: 

(3) 
1.6 Rewrite the bass part of the piano in bar 8 TWO octaves higher in the alto clef. 
Answer:  

(1) 
1.7 Complete the melodic fragment below by adding TWO ascending sequences 
Answer:  
(2) 

1.8 Write the scales below as indicated. 

1.8.1 Complete the ascending chromatic scale starting on the given note. 

1.8.2 Complete the ascending Dorian mode starting on E. 
(2) 

1.8.3 Write Bb melodic minor ascending and descending with key signature.  Mark the semitones. 
Answer: 
 (2) 

[20]

QUESTION 2 (25 minutes)
Answer EITHER QUESTION 2.1 OR QUESTION 2.2. 
2.1/ Complete the opening motif below to form a twelve-bar melody in ternary form 
2.2 for any single-line melodic instrument of your choice. Name the instrument for  which you are writing. Indicate the tempo and add dynamic and articulation  marks.
Concept answers: 
2.1 Instrument: Cello/Trombone/Tuba/Bassoon/Bass Guitar/Double Bass 

OR 

2.2 Instrument: Guitar/Saxophone/Clarinet/Trumpet/Violin 

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 from Mozart's Sonata K.283 below and answer the  questions that follow. 
Answer: 

3.1.1 Name the key of this extract. 
Answer: 
G major/G 

(1) 
3.1.2 Identify chords (a)–(e) and figure them on the score. Use EITHER figuring  below the score, for example V6, OR chord symbols, for example B/D# above  the score. 
Answer: 
See score: 

(5) 
3.1.3 Name the cadence in bars 3–4. 
Answer: 

• Perfect (cadence) 

(1) 
3.1.4 Name the type of non-chordal note at (i).  
Answer: 
Suspension (1) 

3.1.5 Circle ALL the passing notes on the score that occur in bar 8 on beats 1 and  2. 
Answer: 

(2) 

[10] 

OR

3.2 Study the extract from Solitaire by Neil Sedaka and Philip Cody below and answer the  questions that follow. 
Answer:

3.2.1 Name the key of this extract. 
Answer: 
Eb major/Eb 

(1) 

3.2.2 Identify chords (a)–(e) and figure them on the score. Use chord symbols  above the score, for example Bb/D.
Answer: 
See score 

(5) 
3.2.3 Name the type of non-chordal notes at (i)–(iii). 
Answer: 

1. Passing note 
2. Passing note 
3. Suspension 

(3) 
3.2.4 Name the cadence in bars 6–7. 
Answer: 
Perfect (cadence) 

(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.  
Concept answer: 

The harmonisation will be marked according to the following criteria: 

Candidates must be credited for a different/creative and correct harmonisation not given in the  memorandum. The figuring serves as a guide for the marker, but no marks are allocated for  the symbols as such 
OR
4.2 Complete the piece below by adding a suitable bass line and harmonic  material in the open staves. Continue in the style suggested by the given  material in bars 1–3. 
Concept answer:

The answer will be marked according to the following criteria: 

Candidates must be credited for a different/creative and correct harmonisation not  given in the memorandum. The figuring serves as a guide for the marker, but no marks  are allocated for the symbols as such. 

[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).  
Answer these questions in the ANSWER BOOK provided. 

SECTION B: GENERAL (COMPULSORY) 
QUESTION 5  

5.1

5.1.1 B 
5.1.2 C 
5.1.3 A 
5.1.4 D 
5.1.5 C 
5.1.6 A 
5.1.7 B 
5.1.8 B 
5.1.9 D 
5.1.10 C 

(10) 

5.2

• Copyright 
  • Protected 
• Licences 
  • Grant these for performance
  • Grant these for reproduction
  • Grant these for recording 
• Royalties
  • Collect 
  • Distribute
• Bursary (Competitions) 
• Retirement fund for members 

(4) 

5.3 

• Copyright gives the owner of a creative work the right to permit or prevent  the use of that work by others
  • Right to prohibit copying the work 
  • Right to grant permission to publish the work 
  • Right to make an adaptation of the work
  • Right to perform the work
• Copyright gives the owner of a creative work the right to earn money from it – time frame of 50 years after the death of copyright holder 
• Copyright is infringed if any action is taken concerning the creative work  without the authorisation of the copyright owner – penalties could ensue(4)

5.4

5.4.1 Needletime rights royalties: When recorded material is played in  public, all parties involved in the creation of this material  (composers, performers and recording companies) are  remunerated.(1) 

5.4.2 Mechanical rights royalties: When original works are recorded or  published, all parties involved in this process (composers and  publishers) are remunerated. (1) 

TOTAL SECTION B: 20

Answer SECTION C (WAM)  
OR SECTION D (JAZZ)  
OR SECTION E (IAM). 

SECTION C: WESTERN ART MUSIC (WAM)  
QUESTION 6 
6.1

6.1.1 Minuet and trio 

• Large scale ABA form/Ternary 
• Minuet is repeated after the Trio (da capo)  
• A minuet followed by a trio followed by a repeat of the minuet (Minuet/Trio/Minuet) 
• Both minuet and trio are independent works with their own internal  forms 
• (Third) movement of Symphony or Sonata 
• Key relationship between the key of the Minuet and Trio (2) 

6.1.2 Rondo 

• A form type with a recurring initial section called the rondo-theme or  refrain 
• Five part rondo: ABACA 
• Seven part rondo: ABACADA 
• The A-section is always in the tonic key 
• Other sections are in related keys and contain contrasting material 
• B, C etc. are called episodes 
• Often the last movement of Symphony or Sonata (2) 

6.1.3 Development 

• The second large section of sonata form 
• Placed after the exposition 
• Tonality is explored / related keys are used 
• Previous material (from exposition) and new material evident and  developed 
• Often ends on dominant pedal point to prepare for return of tonic key (2) 

6.1.4 First subject/theme 

• The first subject/theme in the opening main section (exposition)  
• Found in sonata form 
• Rooted in the tonic key 
• Presents the first thematic material  
• Often robust (strong) in comparison to more lyrical second theme (2)

6.2 

• A symphonic poem is a genre of one-movement orchestral music 
• Mostly written by Romantic composers inspired by extra-musical ideas e.g. nature, exoticism 
• Usually has a title which can suggest/set a scene or tell a story(2) 

 [10]

QUESTION 7  

• Established the overall structure of the symphony (4 movements) 
• Established sonata form 
• Established the layout (positioning) of the standard classical orchestra 
• The composition of the standard classical orchestra was established with each  section having a particular role to play. 
• A large string section; doubled instruments in woodwinds (excluding clarinet);  limited use of brass and percussion. 
• Set new standards in terms of orchestral playing 
• Performance techniques developed
  • Tremolo
  • Sudden sfz 
  • Opening arpeggios 
  • Crescendos and decrescendos 
  • Playing techniques: The rocket- and sigh-motives
    (Maximum 2 marks) 

[5] 
QUESTION 8 
Definition of genre 

• Concert overture  
• Loose standing, single-movement orchestral work 

Form: 

• Standard sonata form (Exposition, Development, Recapitulation)  
• Contrasting first and second themes in Exposition 
• Tonality – b min/D major, Theme 2 in B major (Recapitulation) 
• Development the longest section in the work (starts with Theme 1, motif A) 

Title: 

• Second title Fingal’s Cave (The lonely Island) 
• Work composed after Mendelssohn’s visit to the Hebrides Islands 
• Some suggestion of programmatic influence in this work [5]

QUESTION 9 

• First movement of the symphony 
• Awakening of cheerful feelings upon arrival in the country or
  Ontwaking van vrolike gevoelens by die aankoms in die vrye natuur or
  Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande 
• The key (F major) and time signature (2/4) suggest the pastoral setting (simple life  in the country) 
• A calm and cheerful movement 
• Sonata form 
• Allegro ma non troppo 
• Four different rhythmic motifs 
• Instrumentation – standard Classical Symphony Orchestra [5] 

QUESTION 10  
Definition of aria 
A formal song sung by a single vocalist 
Characteristics: 

• Regular metre (in contrast to the recitative) 
• A reflective character 
• Clear melodic contour 
• Vocal decorations, use of melismas 
• Text has an emotional context 
• Alternates with recitatives and choruses within the Opera 
• In two parts (binary form), or in three parts (da capo-aria) 
• Accompaniment is continuously provided by the orchestra 

Aria:  

• Der Vogelfänger bin ich ja (The birdcatcher I am indeed) 
• Papageno, Baritone 
• Simple folk-like melody with a comic element in major key 
• Strophic form 
• The birdcatcher is the simple and comical character which contrasts with the  serious elements in the opera 
• Sparse, homophonic accompaniment 
• Papageno plays a flute to lure the birds to him  

Aria:  

• Dies Bildnis ist bezaubernd schön (This likeness is enchantingly lovely)
•  Tamino, Tenor 
• Lyrical character achieved by a slow tempo and cantabile vocal style 
• Exaggerated wonder of beauty and love at first sight 
• Tamino, the prince, is given a portrait of Princess Pamina and it is to this portrait  that he addesses the aria 
• A warm orchestral accompaniment is employed

Aria:  

• O Isis und Osiris 
• Sarastro, Bass voice and chorus joins 
• Heavy, deep bass to characterise Sarastro, the high priest of wisdom 
• Chordal introduction to present the serious character 
• As Papageno and Tamino enter the trials to join their holy order, Sarastro prays  that they will be watched over during the trials 
• The aria is well placed at a serious moment in the opera 
• Sarastro represents the moral and good in the opera 

Aria:  

• In diesen heil’gen Hallen ( Within these hallowed halls) 
• Sarastro, Bass 
• The ponderous tone, a major key and slow tempo helps to set the scene 
• Calm assurance, reverence for order, religious undertone 
• After Pamina pleads with Sarastro to have mercy on her scheming mother,  Sarastro sings of the ideals of Brotherhood to a great calming effect • Accompaniment of strings playing in the low register helps to set the mood 

Aria:  

• Der Hölle Rache kocht in meinem Herzen (Hell’s revenge cooks in my heart) 
• Queen of the night, Coloratura/dramatic soprano 
• Provides a dark mood, dramatic drive and theatrical emphasis 
• Extreme vocal range, minor key and fast tempo express the Queen’s anger 
• The Queen of the Night is the complex and dramatic character which contrasts  with the lighter elements in the opera 
• Full orchestral accompaniment to increase dramatic intensity 

Aria: 

• Ach, ich fuhls, es ist verschwunden (Ah, I feel it, it has disappeared) 
• Sung by Pamina, Soprano 
• Atrracted by the playing of Tamino’s flute, Pamina comes and meets Tamino and  is hurt when he doesn’t talk to her 
• Slow, soulful, expressive aria 
• Extensive use of melisma 
• Sparse accompaniment – enhances feelings of lonliness 

Aria:  

• Ein Mädchen oder Weibchen (A girl or a little wife) 
• Papageno, Baritone 
• Aria has a light character supported by a major key at a moderate tempo 
• The instrumentation uses glockenspiels at the start of the Aria 
•  The birdcatcher is the simple and comical character which contrasts with the  serious elements in the opera 
• Simple folk-like melody with a comic element

The essay will be marked according to the following criteria: 

[15] 
TOTAL SECTION C: 40 

OR

SECTION D: JAZZ QUESTION 11 

(6) 

11.2.1 Zim Nqawana 

• Developed a typical local saxophone style by his imitation of vocal  inflection 
• Music rooted in indigenous sound yet incorporated progressive  phrasing and cadences to attain universal relevance 
• Adapts an avant garde approach and traditional African music into a  new inspiring interpretation(1) 

11.2.2 Jazz Epistles 

• Played hard bop and influenced the developing jazz culture 
• Developed a modern avant garde South African jazz sound 
• Recorded the first jazz album by a black band, Jazz Epistle, Verse 1(1) 

11.2.3 Miriam Makeba 

• Sang modern versions of local songs in isiXhosa 
• Through music she inspired activism against apartheid 
• Through her hit song Pata Pata she gained international recognition for  South African music(1) 

11.2.4 Chris MacGregor 

• He made a huge contribution to free improvised music both locally and  internationally 
• He moved away from the arranged format of Big Band music and  reflected moods and textures in ways that allowed players more  freedom to express themselves  
• His Big Band style influenced a new type of British Big Band(1)  

[10]

QUESTION 12  
Characteristics of Kwela 

• Penny-whistle based music 
• Cyclic Harmonic progressions are prevalent
  • I – IV – I⁶₄ –V
  • I – I– IV– V
• Solo melody often embellished and developed through jazz improvisation 
• Guitar and banjo outline the chord progression and give rhythmic drive 
• Saxophone, which was added later, is often used as lead instrument in place of the  penny-whistle 
• Skiffle-like rhythm provided by the guitar 
• Specific dance moves associated with Kwela music  

The role of Kwela in the development of South African jazz 

• Originated with street music 
• It developed from Marabi, both harmonically and rhythmically 
• It brought South African music to international prominence in the 1950s 
• It has influenced later South African jazz e.g. Mbaqanga 
• It fused traditional African folk music with contemporary harmonies and jazz styles 
• It provided many prominent soloists, e.g. Spokes Mashiyane, Lemmy Mabaso and  Elias Lerole 
• Many famous South African jazz and popular artists had Kwela influences (and  repertoire) in their playing style e.g. Kippie Moeketsi, Mango Groove [5] 

QUESTION 13 

• A dance music combining traditional and western music 
• Mixes American jazz, mbube, kwela and marabi music 
• Backed by electric bass and drums 
• Sometimes the electronic organ is used 
• Originally predominantly male singers, but mixed nowadays 
• The songs often begin with a brief introduction featuring the guitar 
• Uses a 4 chord sequence: I – IV – I ⁶₄ – V  
• Call and response is used in the vocal passages and between vocals and  instruments 
• Bass lines play an important role, often repeating rhythmic and melodic features  and backing the vocal lines 
• Harder driving beat than kwela music  

[5]

QUESTION 14 
Origins 

• Traditional music of the Zulu, Xhosa, and Sotho people 
• Early American jazz 
• Ragtime and Blues  
• Ticky-draai (Cape folk-dance) 

Style characteristics 

• Cyclic chord structure using I – IV – I ⁶₄ – V  
• Basic, simple primary triads 
• Small instrumental ensemble including piano and shaker 
• Simple pedal organ, guitar, banjo and drum (self-made) or percussion (shakers) 
• Moderate to fast ragtime-based rhythms 

Artist/Group 

• Jazz Mechanics, Merry Blackbirds, Manhattan Brothers, Mahotella Queens [5] 

QUESTION 15  
Abdullah Ibrahim 
Characteristics of his music: 

• Instrumentation: Piano, bass, drums, saxophone, trumpet, trombone, etc. 
• Rhythm and beat: Blending African, Ghoema and Swing elements  
• Harmony: Standard Classical chord progression blended with jazz features (e.g.  blues)  
• Melody: Folk-like and hymn-like melodies  
• Texture: Mainly homophonic with elements of call and response 
• Mood: Wide variety 
• Improvisation: Extensive for all instruments blending various styles 
•  Very personal piano playing style featuring: tremolo chords, pedal points and  cluster chords 

Origins and influences: 

• Multicultural: Influences from Cape Town 
  • Kaapse Klopse/Cape Minstrels carnival
  • Slave folk songs 
  • Cape Malay and Khoi-San songs 
  • Traditional Xhosa rhythms 
  •  Church music, marching and brass bands 
  • Ghoema beat 
  • Banjo and guitar and saxophone from the Kaapse Klopse/Cape Minstrels
• Broader South African styles o Marabi music 
  • Kwela music 
  • Mbaqanga
• Elements of American jazz 
  • Thelonious Monk (Piano style) o Duke Ellington (Swing)
  • James Johnson (Stride piano) 

Albums/songs: 

• Township One More Time 
• Mannenberg 
• Soweto  
• Echoes from Africa  
• Ekaya  

OR 

Robbie Jansen 
Characteristics of his music: 

• Instrumentation: Lead-saxophone, piano, bass, drums, trumpet, trombone, etc. 
• Rhythm and beat: Blending African, ghoema and swing elements 
• Harmony: 
  • classical hymn-like harmonic features blended with jazz features (e.g. blues) 
  • use of primary chords lingering longer on them unlike Afro-Jazz which  moves faster to the next chord 
  • amaXhosa harmonies
• Melody: Folk-like melodies 
  •  Khoi-san melodies interweaved with Malaysian and Indonesian melismatic  styles
  • Reed-like quality of Khoisan flute evident 
  • Saxophone melody produced in a nasal tone with vibrato at the end of  phrases
• Texture: Mainly homophonic with elements of call and response/overlapping 
• Mood: Wide range
• Improvisation: Extensive for all instruments blending various styles  

Origins and influences: 

• Multicultural: Influences from Cape Town 
  • Kaapse Klopse/Cape Minstrels carnival
  • Slave folk songs 
  • Cape Malay and Khoi-San songs
  • Traditional Xhosa rhythms 
  • Church music, marching and brass bands
  • Ghoema beat
• Broader South African styles
  • Marabi music
  • Kwela music
  • Mbaqanga
• Elements of American jazz and influences
  • American saxophone players
  • Dizzy Gillespie
  • Big Band 
  • Salvation Army marching bands
  • Funk and Salsa 

Albums/songs: 

• Hoija Tjie Bonga 
• Tsakwe 
• Sommer Goema 
• The Cape Doctor 
• Nomad Jez 

OR 

Winston Mankunku Ngozi 
Characteristics of his music: 

• Instrumentation: Lead-saxophone, piano, bass, drums, saxophone, trumpet,  trombone, etc. 
• Rhythm and beat: Blending African, ghoema and swing elements 
• Harmony: 
  • Classical hymn-like harmonic features blended with jazz features (e.g. blues)
  • amaXhosa harmonies
• Melody: Folk-like
  • Khoi-Khoi and San melodies intertwined with Malaysian and Indonesian  melismatic styles
• Texture: Mainly homophonic with elements of call and response/overlapping 
• Mood: Wide range 
• Improvisation: Extensive for all instruments blending various styles  

Origins and influences: 

• Multicultural: Influences from Cape Town 
  • Kaapse Klopse/Cape Minstrels carnival
  • Slave folk songs 
  •  Cape Malay and Khoi-san songs
  • Traditional Xhosa rhythms 
  • Church, marching and brass bands 
  • Pentatonic mission hymns 
  • Ghoema beat
• Broader South African styles 
  • Marabi music
  • Kwela music
  • Mbaqanga 

• Elements of American jazz
  • John Coltrane (saxophone style)
  • Horace Silver
  • Big Band 

Albums/songs: 

• Abantwana be Africa 
• Crossroads 
• Ya Khal 'iNkomo 
• Molo Africa 
• Dudula 

The essay will be marked according to the following criteria: 

TOTAL SECTION D: 40 

OR

SECTION E: INDIGENOUS AFRICAN MUSIC (IAM) 
QUESTION 16 
16.1 

16.1.1 Isicathamiya 

16.1.2 Isihlabo or Intela 

16.2 

(5) 
16.3

• Curing rituals inspired by the divine, always accompanied by singing and  drumming 
• The drum is used early morning and evenings to pray to the ancestors 
• Sacred diviner’s instruments are played with a specific rhythm/motif 
• Music could accompany sacred dances that induce a trance to aid  communication with the ancestors  
• The spiritual presence is evoked by the drum beats/clapping and singing 

(3) 

[10] 

QUESTION 17 
17.1 Local influences 

• Sangoma music learnt from Phillip Tabane’s mother adds to the spirituality  of Malombo music 
• Use of the sacred Malombo drums and pipes  
• Use of local materials (the Baobab tree) in the making of Malombo drums 
•  Haunting melodies and rhythms from the Bapedi and Vhavenda 
• African polyrhythms 

International influences 

• American jazz style improvisation  
• Uses 12-bar blues structure 
• Western instrumentation (drumkit, bass guitar, electric guitar, transverse  flute) 
• Echoes/Influences of Wes Montgomery, the iconic American jazz guitarist, in  the use of the hollow-bodied electric guitar and in the guitar playing style.
• Artist/group: Philip Tabane, Malombo Jazz Makers [5]

QUESTION 18 

• A dance music combining traditional and western music 
• Mixes American jazz, mbube, kwela and marabi music 
• Backed by electric bass and drums 
• Sometimes the organ or electronic organ is used 
• Originally predominantly male singers, but mixed nowadays  
• The songs often begin with a brief introduction featuring the guitar 
• Uses a 4 chord sequence: I – IV – I ⁶₄ – V  
• Call and response is used in the vocal passages and between vocals and  instruments 
• Bass lines play an important role, often repeating rhythmic and melodic features  and backing the vocal lines 
• Harder driving beat than kwela music [5] 

QUESTION 19 
Characteristics 
Harmony 

• TTBB (SATB)/choral 
• Close-harmonies 
• Simple and cyclic harmonies 
• Deep bass voice singing 

Vocal style 

• Call and response 
• Tenor leader’s role: leader of the group and composer, keeping the group together,  often sings in falsetto range 
• Crepitation and ululation – adds excitement to the music and enhances the rhythm,  encourages audience participation 

Texture 

• Homophonic 
• Call and response between leader and group 

Melody 

• Improvisational 
• Can include praise poetry 
• Small vocal range 
• A capella singing 

Dance movement  

• Soft, cat-like movement (ukucothoza) – tap-toeing (dancing technique) 
• Tenor leader introduces the dance - call and response as part of the movement 
• Choreographed and well-rehearsed

Social context 

• Promoted cleanliness and dignity of the mineworker 
• Music occured in organised dance hall competitions 

International Status 

• Isicathamiya gained popularity with the recording of Graceland by Paul Simon 
•  Ladysmith Black Mambaso performed the song Diamonds on the Soles of her Shoes  with Paul Simon 
• Invited to perform in America in New York in 1985 
• Won first Grammy for Best Tradition Folk in 1988 
• Continues to win Grammys and other music awards up until present day 
• Recorded and featured with international artists [5] 

QUESTION 20 
Origins 

• Deep rural IsiZulu musical tradition 
• Originally sung by men only, but later by the broader community 
• Use of umakhweyane (traditional string instrument) 
• Men would walk great distances and playing the guitar kept them company 
• Maskandi may have been termed after the Afrikaans word “musikant” (to mean  musician) 
• In urban areas Maskandi musicians started using more instruments e.g. drums,  electric guitar and keyboards 
• Developed from Izibongo (traditional IsiZulu poetry) 

Style characteristics 

• Accompaniment by guitar played in a picked and/or strumming style (ukupika/ukunanza  and ukuvamba) 
• Ukupika – a finger-picking style
  • In ukupika, the thumb plays Amadoda (lower strings)
  • The other fingers on the right hand (mainly the index finger) play a melody on  Amantombazane (upper strings) 

• Ukuvamba – strumming chords percussively 
• Acoustic steel string guitar used.  
• Guitar tuning not the same as the traditional Western tuning – complex and varied 
• Always starts with Isihlabo – rapidly spoken sections of IsiZulu praise poetry – each  accompanied by the signature instrumental playing style of the composer/performer
• There are various styles of Maskandi e.g. Isibhaca 
• Traditional community-based music which became commercialised
• A key feature is the Ukubonga (praise poetry), which appears in the middle of the  song 
• Lyrics strictly in IsiZulu  
• Call and response between the leader and the backing singers and/or band 
• Includes dance – choreography is traditional IsiZulu 

Any artist and song 

• iHashi Elimhlope: Nkiyankiya 
• Phuzekhemisi: Phuzekhemisi-Imbizo 

The essay will be marked according to the following criteria: 

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

MUSIC
PAPER 1
GRADE 12 
NSC PAST PAPERS AND MEMOS
NOVEMBER 2016

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 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.

MARKING GRID 

AND 

AND 

OR 

OR 

QUESTIONS

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. 
Answer the questions in the spaces provided on this question paper. 
QUESTION 1 (25 minutes)
Study the extract below and answer the questions that follow.

1.1 Name the main key of this piece. ____________________________________________ (1)
1.2 Name the intervals at 1.2.1 and 1.2.2 according to type and distance.

1.2.1 ______________________________________ 
1.2.2 ______________________________________ (2)

1.3 Name the triads at 1.3.1 and 1.3.2 according to type and position/inversion.

1.3.1 ______________________________________ 
1.3.2 ______________________________________ (2) 

1.4 Rewrite the violoncello part of bar 7 in compound time. Add the new time  signature.
 (3) 
1.5 Transpose the violoncello part of bars 43–62 a tone (major second) higher.  Insert the new key signature.
 (3)
1.6 Rewrite the bass part of the piano in bar 8 TWO octaves higher in the alto clef.
(1)
1.7 Complete the melodic fragment below by adding TWO ascending sequences.
(2)

1.8 Write the scales below as indicated. 

1.8.1 Complete the ascending chromatic scale starting on the given note. 
(2) 
1.8.2 Complete the ascending Dorian mode starting on E. 
(2) 
1.8.3 Write Bb melodic minor ascending and descending with key signature.  Mark the semitones. 
  (2)

[20]

QUESTION 2 (25 minutes)
Answer EITHER QUESTION 2.1 OR QUESTION 2.2. 
2.1 Complete the opening motif below to form a twelve-bar melody in ternary form  for any single-line melodic instrument of your choice. Name the instrument for  which you are writing. Indicate the tempo and add dynamic and articulation  marks. 

Instrument: _________________________ 
Tempo: _________________________ 

The melody will be marked according to the following criteria: 

[15] 

OR

2.2 Complete the opening motif below to form a twelve-bar melody in ternary form  for any single-line melodic instrument of your choice. Name the instrument for  which you are writing. Indicate the tempo and add dynamic and articulation  marks. 

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 from Mozart's Sonata K.283 below and answer the  questions that follow.

3.1.1 Name the key of this extract. __________________________________________ (1) 

3.1.2 Identify chords (a) to (e) and figure them on the score. Use EITHER  figuring below the score, for example V6, OR chord symbols, for  example B/D# above the score. (5) 
3.1.3 Name the cadence in bars 3–4. ___________________________________________ (1)
3.1.4 Name the type of non-chordal note at (i).  ____________________________________________ (1) 
3.1.5 Circle ALL the passing notes on the score that occur in bar 8 on beats  1 and 2. (2) [10] 

OR

3.2 Study the extract from Solitaire by Neil Sedaka and Philip Cody below and answer the  questions that follow.

3.2.1 Name the key of this extract. ________________________________________________ (1) 
3.2.2 Identify chords (a) to (e) and figure them on the score. Use chord  symbols above the score, for example Bb/D. (5) 
3.2.3 Name the type of non-chordal notes at (i) to (iii). 

1. 1. _________________________________________________
   2. _________________________________________________
   3. _________________________________________________ (3) 

3.2.4 Name the cadence in bars 6–7. ________________________________________________ (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 a suitable bass line and harmonic  material in the open staves. Continue in the style suggested by the given  material in bars 1–3.

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).  
Answer these questions in the ANSWER BOOK provided. 
SECTION B: GENERAL (COMPULSORY) 
QUESTION 5  
5.1 Various options are provided as possible answers to the following questions.  Write down the question number (5.1.1–5.1.10), choose the answer and make  a cross (X) over the letter (A–D) of your choice in the ANSWER BOOK. 
EXAMPLE: 
5.1.11 

5.1.1 Presto is the ... 

1. German word for fast.
2. Italian word for fast.
3. Italian word for lively.
4. German word for lively. 

5.1.2 The term falsetto refers to a ... 

1. female voice singing fast runs and melismas.
2. woodwind instrument playing high-pitched notes.
3. male voice singing in the female voice range. 
4. woodwind instrument playing out of tune. 

5.1.3 A chordophone is any instrument ... 

1. that produces sound generated by a stretched string. 
2. where the sound is generated by its own material. 
3. of which the sound is generated by a membrane.
4. on which chords can be played. 

5.1.4 Which term below describes the repetition of a melody or idea at a  different pitch? 

1. Augmentation
2. Diminution 
3. Inversion 
4. Sequence

5.1.5 Which ONE of the following terms is NOT a texture type? 

1. Monophonic
2. Polyphonic
3. Stereophonic
4. Homophonic 

5.1.6 To which ONE of the following does binary term refer? 

1. AB
2. ABACA
3. ABA 
4. ABCBA 

5.1.7 Which ONE of the statements below is CORRECT about  transposing instruments?  

1. A flute sounds an octave higher than the written part. 
2. A double bass sounds an octave lower than the written part.
3. A guitar sounds an octave higher than the written part. 
4. A trumpet sounds a major third lower than the written part. 

5.1.8 Which ONE of the following is a woodwind instrument?  

1. Euphonium
2. Cor anglais (English horn)
3. Trumpet
4. French horn 

5.1.9 Tempo giusto means ... 

1. a free tempo.
2. a lively tempo.
3. increasing the tempo instantly.
4. strict tempo. 

5.1.10 The little note must be played ... 

1. with extra force.
2. according to the player's choice.
3. as quickly as possible.
4. with half the value of the note that follows it. (10 x 1) (10)

5.2 Briefly describe the functions of SAMRO. (4) 
5.3 Copyright gives the copyright owner exclusive rights regarding the use of  his/her music. Elaborate on this statement. (4)
5.4 Define the following terms: 

5.4.1 Needletime rights royalties (1) 
5.4.2 Mechanical rights royalties  (1) 

TOTAL SECTION B: 20

Answer SECTION C (WAM)  
OR SECTION D (JAZZ)  
OR SECTION E (IAM). 
SECTION C: WESTERN ART MUSIC (WAM)  
QUESTION 6 
6.1 Describe the following terms with regard to form: 

6.1.1 Minuet and trio (2)
6.1.2 Rondo (2)
6.1.3 Development (2)
6.1.4 First subject/theme (2)

6.2 A symphonic poem is based on programmatic content. Explain the meaning of this statement. (2) [10] 

QUESTION 7  
Discuss the importance of the Mannheim orchestra. [5]

QUESTION 8  
Write a paragraph in which you define the genre of Mendelssohn's Hebrides Overture.  Briefly describe the form of the work and discuss the importance of the title. [5] 

QUESTION 9 
Study the extract below from the Pastoral Symphony by Beethoven. Write a paragraph  on the movement in which the extract occurs. [5]

QUESTION 10 
Mozart perfected the aria as a genre in his opera The Magic Flute. 
Elaborate on this statement. Define the aria as a genre and discuss TWO arias sung  by different characters in The Magic Flute. 
You will be credited for the logical presentation of facts and the structure of your essay. The essay will be marked according to the following criteria: 

[15] 
TOTAL SECTION C: 40 

OR

SECTION D: JAZZ 
QUESTION 11 
11.1 Choose the jazz classification from COLUMN B that matches the artist/group in COLUMN A. Write only the letter (A–F) next to the question number  (11.1.1–11.1.6) in the ANSWER BOOK, for example 11.1.7 G. 

(6 x 1) (6) 
11.2 Name ONE important contribution to South African jazz made by EACH of the  following artists: 

11.2.1 Zim Nqawana (1)
11.2.2 The Jazz Epistles (1)
11.2.3 Miriam Makeba (1) 
11.2.4 Chris MacGregor (1) [10] 

QUESTION 12  
Write a paragraph in which you describe kwela. Also briefly explain its role in the  development of South African jazz. [5] 

QUESTION 13  
Describe the mbaqanga style found in the music of bands such as Makgonatsohle  Band, The Cool Crooners or Soul Brothers. [5] 

QUESTION 14 
Discuss the origin and style characteristics of marabi music. Refer to at least ONE  artist or group. [5]

QUESTION 15  
Write an essay on the music of ONE of the following Cape jazz artists: 

• Abdullah Ibrahim  
• Robbie Jansen  
• Winston Mankunku Ngozi 

You will be credited for the logical presentation of facts and the structure of your essay.
The essay will be marked according to the following criteria: 

[15] 
TOTAL SECTION D: 40 

OR

SECTION E: INDIGENOUS AFRICAN MUSIC (IAM) 
QUESTION 16 
16.1 Give a term to describe EACH of the following: 

16.1.1 A style of music that includes light dance-like walking on one's toes (1)
16.1.2 The rapid instrumental introduction to a maskandi song (1) 

16.2 Choose the item in COLUMN B that matches the artist/group in COLUMN A.  Write only the letter (A–E) next to the question number (16.2.1–16.2.5) in the  ANSWER BOOK, for example 16.2.6 F. 

(5 x 1) (5) 
16.3 Briefly describe the role of music in traditional African religion. (3) [10] 

QUESTION 17 
Discuss local and international influences in malombo music. Refer to at least ONE  artist or group. [5] 

QUESTION 18 
Describe the mbaqanga style found in the music of bands such as Makgonatsohle  Band, The Cool Crooners or Soul Brothers. [5] 

QUESTION 19 
Discuss isicathamiya music with regard to its characteristics and how this style gained  international status. [5]

QUESTION 20 
Maskandi is traditionally a Zulu music style which features prominently in today's  popular music. 
Write an essay in which you expand on this statement by discussing the origins and  characteristics of the style. 
You will be credited for the logical presentation of facts and the structure of your essay. The essay will be marked according to the following criteria: 

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

VISUAL ARTS
GRADE 12 
NSC PAST PAPERS AND MEMOS
NOVEMBER 2016

INSTRUCTIONS AND INFORMATION 
Read the following instructions carefully before commencing marking: 

1. This memorandum consists of EIGHT answers. Candidates had to answer  any FIVE questions for a total of 100 marks. 
2. It is MOST IMPORTANT that allowance is made for the candidates in many  instances:
   • Candidates must be given credit for providing their own opinions and  ideas in answers. 
   • Credit must be given for lateral thinking. 
   • Arguments and statements must be well-reasoned and qualified with  reference to specific factors.
3. Questions and subsections must be numbered clearly and correctly.
   Bullets usually act as guidelines to help structure candidates' answers.
4. Information and artworks discussed in one answer must not be credited if repeated in other answers, but artworks may be cross-referenced.
5. Where applicable, candidates must name the artist and title of each artwork. 
   Only ONE mark is allocated for the correct artist and title of work.
6. Where applicable, candidates may discuss both two- and three-dimensional artworks in any answer. 
7. Remember that many candidates will be discussing these examples, never having seen them before. Markers therefore cannot expect factual,  academic information. They should draw upon their own experiences,  cultures and interpretations of the artworks, within the context of the  question. Therefore, markers need to be open-minded and flexible in the  marking process. 

GENERAL INFORMATION FOR MARKERS 

• This memorandum is to serve as a guideline for markers as well as a teaching  tool. Therefore, the memorandum for certain questions is in greater depth, so that the information may be used as learning material. Other parts of the memorandum  may merely be a suggested guideline.  
• NOTE: Markers are encouraged to reward candidates for what they know, rather  than penalise them for what they don't know. 
• Although the information for the questions is given in point form, candidates must  use an essay/paragraph format discussing their information in a holistic manner. 
• Candidates must answer all the questions in FULL SENTENCES or  PARAGRAPHS, according to the requirements of each question. Answers in point form cannot receive full marks. Full marks cannot be given if the title or artist is  incorrect. 
• Markers must refer to the Visual Arts CAPS document page 45 for a guideline to  assess the levels of achievement.

Assessing candidates' ability to analyse and respond to examples of visual culture

CANDIDATES MUST ANSWER ANY FIVE QUESTIONS. 

Due to the colour differences of the question papers from die different provinces, the  provinces have to adapt the marking guidelines for interpretation. 

MEMORANDUM

QUESTION 1: THE VOICE OF EMERGING ARTISTS 

1.1 Candidates must compare the artworks in FIGURE 1a and FIGURE 1b by  considering the following: 

• Colour and line  

FIGURE 1a: Peter Clarke, Sleepers on The Grass, watercolour, 1967.  

The artwork consists of cool hues of greens and blues with hints of red and  orange. The dark linear clouds pierce areas of blue and the figures echo  shades of reds and oranges. The landscape consists of facets of green hues.  Strong angular and dark outlines. 

FIGURE 1b: Kate Gottgens, Summertime, oil on canvas, 2015. 

This artwork consists of warm hues of yellow and grey with undertones of  violet, black, orange and red. The subdued painting is dominated by muted  colours, namely reds, oranges and yellows. The artist makes use of line to  define/outline various forms and objects, such as the female lying on the  grass and the chair. The trays in the foreground create diagonal lines and  lead the viewers' eye to move to the figure of the girl who is the focal point.  Light greenish outlines on a darker greyish figure of the girl. 
Both works have predominantly green tones. 

• Balance 

FIGURE 1a: The two sides of the composition are not the same in size or  shape. The figures in the foreground are larger than the ones in the  background, which creates perspective. The painting is divided into two  unequal parts.
FIGURE 1b: The placing of the girl divides the picture plane into a foreground  and background. The placing of the trays at the bottom and the folding chair  in the background add balance.  
Both works have asymmetrical balance. Works are visually balanced.

• Composition 

FIGURE 1a: The diagonal composition portrays figures that seem to be  perched on an angular hill from which they might fall at the slightest breeze.  The ground below them does not seem to support their bodies, but rather  leaps towards the viewer, defying notions of space. Portrait format. Red figure  is the focal point. 
FIGURE 1b: The artwork is a snapshot view of a girl lying on her stomach on  the grass in the centre of the composition. She takes up most of the  composition and is placed more to the left, allowing the viewer to take in the  rest of the composition gradually. A folding chair is placed in the centre top  part of the composition. The top of the chair is cut off by the edge of the  artwork. Landscape format. Both works have an open composition with  figures and other items extending beyond the frame of the painting. 

• Style 

FIGURE 1a: The artwork is stylised and simplified in block-like facets  reminding of Cubism. Cartoon like, African influence with angular woodcut  type of lines and bright colours. Vertical divisionism. 
FIGURE 1b: This is a figurative artwork capturing a moment in time. Short  brushstrokes and dappled colour and light are used. Impressionism, snap  shot moment. Horizontal composition. 

• Possible messages/meanings 

FIGURE 1a: The figures are sleeping and resting on the grass. Sleeping  because they are working hard. The figures are barefoot which could suggest  that they are homeless. 
FIGURE 1b: Gottgens work from old, faded family photos that relate to  memories faded into featureless faces. It captures a bygone time/era. This is  a moment in time that depicts a girl relaxing outdoors on a warm day. She is  wearing a bathing costume; there are teacups and saucers, serving trays and  a chair around her, which indicates she may not be alone. Girl at leisure  relaxing outside on a summer day (holiday mood). Ghostlike feeling. 

(ONE mark must be deducted if the candidate does not make a  comparison.) 
Only ONE image discussed or no comparison Max 6/8  
If only ONE artist with works MAX 7/8 (8)

1.2 Candidates must interpret the work of any TWO artists they have studied,  who comment on his/her surroundings. 
They must include the following in their answer: 

• Social/Cultural influences 
• Media and technique 
• Style 
• Possible messages/meanings (12) [20] 

QUESTION 2: SOUTH AFRICAN ARTISTS INFLUENCED BY AFRICAN AND/OR  INDIGENOUS ART FORMS 

2.1 Candidates must interpret the artwork in FIGURE 2 by referring to the  following: (the print quality results in the meticulous detail being unclear). 

• Line and colour 

The artist uses neutral colours in the lower part of the painting, i.e. shades  and tints of brown. The middle ground consists of a suburb where the roofs  and houses are painted in red/brown and white. The top part of the painting  consists of a blue sky with floating objects painted predominantly in grey,  black, yellow and white. There are hints of red, yellow and orange in the  funnel, magazine, lipstick and spray bottle. Linear, horizontal line dividing the artwork in three parts.  

• Style and technique 

The artist adopts a photorealistic/realistic style as seen in the meticulous  detail. The painting has a surrealistic feel, as it is layered with complex  meanings and motifs. It has a juxtaposition of diverse elements. 

• The artist divides his composition into three distinct parts.  Candidates have to describe and discuss the use of imagery in  EACH of the three parts and their possible messages/meanings. 

Stone juxtaposes unrelated objects within his landscape.The sky comprises modern everyday consumer objects representing rain as they are falling from  the sky. These objects are representative of modern-day materialism. In the  middle part of the picture a developed suburb represents modern-day living  which would not have been around during the Khoi/San times. 
The objects include a stove, lipstick, rubber tyre, jug, a water level, funnel,  radio, a magazine, etc. Khoi/San paintings are depicted in the lower part of  the painting. The artwork combines a flashback of South African symbols as  seen in the Khoi/San drawings. Stone contrasts the values of  pre-colonial cultures with those of contemporary society, who are preoccupied  with the acquisition of material goods. 
In the lower part of Domestic Rain, a huge rock face is depicted with  Khoi/San paintings of hunters pursuing antelope. An interesting feature of this  work is the open book superimposed over the Khoi/San paintings. Stone  comments on the supreme power of money in contemporary society,  contrasting this with Khoi/San culture, where the idea of money was non existent. Historic timeline of societies layers over each other in a 'palimpsest'  way like the San did in their rock art. Ancient, buried, historic symbols  juxtaposed with modern materialistic 'symbols'. Pollution, culture, history,  roots, spiritual, heritage. Archaeology, Saartjie Baartman. (8) 

2.2 Candidates must discuss ONE artwork by any TWO artists whose work  expresses their African identity due to the influences of indigenous African  art forms. 
Candidates must use the following guidelines: 

• The influences of indigenous African art forms and symbols 
• Style and technique 
• Possible messages/meanings (12) [20] 

Candidates must refer to African Identity which means that artists like  Picasso, Gauguin and German expressionists are NOT relevant and  cannot be accepted.

QUESTION 3: SOCIOPOLITICAL ART, INCLUDING RESISTANCE ART OF THE  1970s AND 1980s 

FIGURE 3: Sfiso Ka-Mkame, Letters of Home, oil pastel on paper, 2012–2014. 

3.1

• How do candidates react to the title of this work? Candidates should  substantiate their personal social response. 
• Candidates must discuss THREE of the issues addressed in this work by  referring to the following:
  • Choice of image(s) 

The narrative artwork depicts political conflict, daily struggle, violence,  suffering/hardships and compassion. The violence is illustrated in the  image of the Marikana massacre, police raids, rhino poaching and an  outrageous image of xenophobia of burning bodies in a street.  
Images of daily struggle and daily lives are seen in the adults walking and  working in the fields and the children playing outside. Other imagery  ranges from houses, a beggar, a mother and her two children who  appear to be crying, women hanging up washing, protests, school  children visiting an old person and a group of people placed in front of an  Aids awareness backdrop. The artist wants us to be aware of the  atrocities and violence that we have become accustomed to over the past  years. The African symbols are nostalgic. 

• • Colour 

Dense layers of colour have been applied using oil pastels. Patterns were  scratched into the pastel work. The bright colour consists of mainly  primary and secondary colours. Grey was used in some of the images,  while white was used in the posters, smoke and clothing of the figures.  The colours red, orange, yellow and green are dominant in the  composition. Collage effect/palimpsest 

• • Composition 

The square format consists of many smaller oil pastel pieces that have  been combined to form one final artwork. The artwork reminds us of a  patchwork or a photographic record of the events that have been  combined to create a final artwork. The size of the pastel pieces range in  size. (10) 

3.2 Candidates must compare how any TWO artists have expressed past/current  sociopolitical issues in their work. (10) [20]

(ONE mark must be deducted if the candidate does not make a  comparison.) 

QUESTION 4: ART, CRAFT AND SPIRITUAL WORKS MAINLY FROM RURAL  SOUTH AFRICA 

FIGURE 4a: Marisol Escobar, Self-Portrait Looking at The Last Supper, sculptural  assemblage, painted and drawn sketches on wood, plywood, brownstone, plaster and  aluminium, 1982–1984. 
Marisol Escobar was a Venezuelan female artist, who made life-sized, sculptures  from wood to create large installations. The painted large, flat wooden surfaces,  combined with three-dimensional elements of sculptural hands, feet and heads,  create a constant fluctuation from two- to three-dimensionality. Other works are  The Cocktail Party and Poor Family. 
FIGURE 4b: Dominic Lukandwa, The Last Supper, batik on silk, date unknown. 
Dominic Lukandwa is a Ugandan artist who portrays the Last Supper by  combining Western and African cultures. By using batik, beeswax and natural  dyes on silk, he emphasises the rural Africanism. The influence of the Roman  Catholic religion can be seen in the halo of Christ. 
4.1 Candidates must compare FIGURE 4a with FIGURE 4b by referring to the  following guidelines: 

• Placement of the figures 

FIGURE 4a: The twelve figures are gathered behind the elongated table in  the same formation as that of the painting of Leonardo da Vinci. The disciples  are in four groups of three people sitting along the wooden table. The  perception of the figures constantly shifts between two and three dimensions  as the seated figures are neither fully rounded nor flat. The figure in the  middle is chiselled from stone, while the rest of the figures and the items on  the table are assembled from painted and drawn pieces of wood. A single  figure carved from wood is seated to the right of the artwork and is separate  from the rest of the party. All figures, except one figure to the right of Jesus, 
use hand gestures to point towards the central figure of Christ. The single  figure on the right could be the artist or the viewer observing The Last  Supper. The sculpture takes on a quality of a stage prop. The title of the work  indicates that the figure on the right represents the artist. Christ made of  stone. 

FIGURE 4b: The figures facing the viewer are playing different African  instruments. The figure on the far left is playing a drum with shakers next to  him. The seated figures are identically dressed and are informally arranged  on stools around a round table. The figure in the centre represents Christ,  who is dressed in a bright golden robe. Christ is portrayed with an iconic halo  around his head. It is difficult to decipher whether the figures are male or  female because they are portrayed without typical male or female features.  The figure on the far right is seen playing the African drum. Some of the  figures are shown drinking from a calabash and they are all turned towards  the central figure. References can be made to other cultures and not just  Christianity. Figures could be dressed in Sari's. 

• Colour and shape  

FIGURE 4a: The artist used lightly tinted wood. The figures and landscape  were painted onto the wood lightly. The central figure of Christ is grey in  colour. The clothing of the artist or onlooker is black in colour. Some of the  wooden panels are painted in soft blues and yellow ochre, reminiscent of the  colours used in the Renaissance period. Rich complementary colours:  layering of cube like shapes (cubism) in comparison to organic shapes in  FIGURE b.The artist has made use of inorganic shapes for the table and  panels and organic shapes for the figures. 

FIGURE 4b: The artist uses of primary and secondary colour. The clothing is  red-brown in colour and is juxtaposed against the complementary colour of  the green fruit. The central figure of Christ is portrayed in bright yellow ochre,  which makes the figure more prominent. The colour may be representative of  gold symbolising royalty and importance. 

• Depth and movement  

FIGURE 4a: The eight wooden panels on either side of the sculpture draw the  eye to the focal point of Christ. The artist created depth in the background by  placing three rectangular wooden panels behind Christ, imitating three  windows. A painted landscape scene on the 'window panels' also creates  depth. The feet are visible below the table. Above the windows, a semicircle is  painted on the back wall, resembling an arch, which is also visible in Da  Vinci's The Last Supper. Movement has been created by the gestures of the  figures arms and hands. Shallow depth (stage like). 

FIGURE 4b: The figures that are playing musical instruments give the illusion  of movement. The curvilinear lines of the roof and diagonal lines of the  flooring create movement. The blue background creates depth.  

• Materials/Techniques 

FIGURE 4a: Wood was used to construct the sculptural assemblage. The  artist painted the details of the clothing and facial features onto the wooden  structures. The figure in the middle is chiseled from stone. 

FIGURE4b: The artist used the medium of batik, a typical African technique.  The fine lines are formed by applying wax that gives the work an antique feel.  Bees wax and organic dyes are used in the process. Images are flat, two dimensional etc. 

(ONE mark must be deducted if the candidate does not make a  comparison.) (8)

4.2 Candidates must discuss ONE artwork from TWO different South African artists and/or craft artists.  
Candidates can use the following as a guideline: 

• Formal art elements 
• Media and technique 
• Subject matter and use of imagery  
• Possible messages/meanings (12) [20]
  Any TWO South African artists can be selected as the paper doesn't  specify that the artworks should be craft and spiritual artworks. 

QUESTION 5: MULTIMEDIA AND NEW MEDIA – ALTERNATIVE  CONTEMPORARY AND POPULAR ART FORMS IN SOUTH  AFRICA 

FIGURE 5a: Chiharu Shiota, The Key in The Hand, installation with boats, string and  keys, 2015. 
5.1 With reference to the text above and the visual sources in FIGURE 5a and  FIGURE 5b, candidates must describe how the artist communicates her  message. 
Candidates must refer to the following:  

• Significance of the colours 

Red wool/yarn is used and spun/arranged/hung across the room and ceiling  with rusted keys of different sizes and shapes attached by wool/yarn. Some  metal keys are bunched together and others not. They are interconnected  with the red wool/yarn that is weaved between each other from all directions  and heights. The colour red may symbolise life/veins/blood/love. The faded  colour of the boat reflects ancient times, as it reminds us of an old, decaying  boat. Greenish rusted keys symbolise forever, old, history. Blue/green  reflection (water). Contrast between red and brown could represent danger. 

• Significance of the size/scale  

This installation is large in scale and is an elaborate entanglement of red  wool/yarn and keys that are arranged and spun from the ceiling. The  spectator becomes part of this space when entering the room and may be  intimidated or even overpowered by the size. The wool/yarn and keys invade  the space of the room. The red mass of wool/yarn could represent the sails of  the boats. The installation is inside and not outside, boats are usually outside. 

• Use of materials and the contrasts between them 

Red yarn/wool, wooden boats and old rusted keys are used to convey her  message. Some keys are hung in bunches, while others hang individually or  are placed on the floor. The boat (could be old) is constructed from wooden  planks. The boats are elevated from the floor by a wooden stand and trolley. 
Contrast between soft yarn and hard wooden boats. 

• Symbolic meaning of the wool/strings/yarn, boat and keys 

The installation artist used everyday objects like keys to explore the  memories found within these objects. The keys were collected from  thousands of people around the world. Each key holds memories,  recollections and experiences. Keys are familiar, protect valuable items, and  are often used to lock up areas of importance. Keys are symbolic and are  often synonymous with good luck, prosperity and good fortune. Keys also  relate to a jail cell. Keys symbolise relations linked and lock together. Doors  and locks could be symbolic of the unknown. The two ancient boats may  refer to our past/history or ancestors. In FIGURE 5a the boat is raised from  the floor, making it appear as if it is in motion, or it could symbolise the  beginning of a journey/voyage of life. As humans we are connected or in  relation to others through experiences and events. The keys may refer to the  different paths and experiences that we experience throughout life. Life is not  a straight forward journey as your life could become tangled and therefore  life is not that easy/straightforward. 

• What is the candidates' understanding of the title of the work? They  must substantiate their answer. 

The title of the installation refers to the fact that we carry keys around in our  hands. The keys are used to open a door, gate, safe, etc. or to lock a door or safe. When locking up or opening a lock you are in control of the situation. By  opening up a door you allow new opportunities/memories to present  themselves to you. The key is also used to lock up, protect or keep  something safe or hidden. Your secrets and memories could also be locked  up and tucked away from other people. (10) 

5.2 Candidates must interpret ONE artwork by a South African artist who uses  alternative media in search of ways of communicating his/her ideas. (10) [20]

QUESTION 6: POST-1994 DEMOCRATIC IDENTITY IN SOUTH AFRICA 

6.1 Candidates must discuss how the artists have expressed a contemporary  urban South-African identity using both FIGURE 6a and FIGURE 6b. 
They may refer to the following guidelines: 

• Influences 

FIGURE 6a: Influences on Asha Zero's works are images of Betty Boop,  portraits, children, fun, play, games, which are cutouts from magazines or  photographs. 

FIGURE 6b: Kilmany- Jo Liversage is known for her work in Urban Art, which  is recognised as an art form inspired by street art, most notably spray-painted  graffiti and stencilling. She is inspired by advertising and social media. 

• Colour 

FIGURE 6a: The background is in grey tones. Light yellow and white faces  have laughing/shouting red mouths. Mouths could be aggressive .Yellow and  black danger signs with black lettering give the work a Pop Art feel. The work  has a macabre/dangerous and uncomfortable feeling. 

FIGURE 6 b: Liversage uses saturated colours that refer to Pop Art.  Complementary colours of oranges and blues create a vibrant feeling. The  markings on the portrait relate to Marilyn Monroe. Andy Warhol influence. 

• Style and technique 

FIGURE 6a: The artist uses acrylic paint to copy the collage meticulously.  The torn edges of the paper seem three-dimensional. The work reminds us of  Dada montages and contains surrealistic faces painted in a trompe-l'oeil way  to trick the eye with a meticulous realistic technique. Eyes in top and bottom  of the composition are different, in the top part of the composition the eyes  are open and in the bottom they are obscured/ closed.  

FIGURE 6b: Liversage works on canvas with acrylic paint, spray paint and  stencils. Gestural marks refer directly to graffiti. Her process of the layering of  paint creates texture.

• Possible meanings/interpretations 

FIGURE 6a: Small pieces of photographs form a coherent whole. The  breaking up or tearing up of images and paper could refer to destructions of  identity, as all people have to conform into something new. Look like posters  stuck to a wall and partially removed and other stuck ontop of them. Zero  says, 'We're only ONE piece.' The form of new identity is a necessity to all  people who want to adapt to a constant changing society. Using a picture of a  doll, similar to Betty Boop or Kewpie, shows similarities to brand names.  These dolls were very popular in the past. This could portray the significance  of characteristics of specific toys to which a child can relate. Laughing mouths  portray fun and games. The two portraits formed by fragments of dolls' faces  become laughing children looking at each another. Images of dance culture  are seen at the bottom of the painting. 

FIGURE 6b: Judella 515 could refer to the many faces on billboards used for  advertisements. The graphic lines imitate graffiti on the walls of subways. It  can refer to the many faces of models becoming the cheap possessions of  society. This image reminds us of a selfie. 

Candidates must give their own opinion which artwork portrays the  strongest expression of urban identity. They must substantiate their  answer. (10) 

6.2 Candidates must elaborate on the concept of urban identity by discussing  TWO artworks. 
They must refer to the following: 

• Formal art elements 
• Composition 
• Media and technique 
• Style 
• Possible messages/meanings (10) [20] 

Be flexible in this question, learner must discuss identity, however, they can refer to  rural identity as well.

QUESTION 7: GENDER ISSUES: MASCULINITY AND FEMININITY 

7.1 Candidates must write a short essay about Kara Walker's work A Subtlety, or  the Marvelous Sugar Baby, in which they refer to the following: 
FIGURE 7a and 7b: Kara Walker, A Subtlety, or the Marvelous Sugar  Baby, polystyrene, molasses and sugar, 2014. 

• Why do they think the artist portrayed the figure as the Sphinx?  Candidates must give reasons for their answer. 

Sphinx is a 'god'- glorify women as a 'god'. Sexual position-women depicted  as a sexual object. Kara Walker made a monumental sculpture of an African  woman, portrayed as the Sphinx. This was created in an old sugar factory; therefore, the title of 'Sugar baby' was born. As the sugar started to  disintegrate, the pieces were picked up and placed in the baskets. This was a  gesture of salvation and healing by the so-called 'picking up of the pieces' left  by a society.  
The Sphinx symbolises the importance of a king in the ancient Egyptian times.  The king was regarded as the most important figure of the nation. The body of  a Sphinx was that of a lion, while the head was a portrait/an image of the  deceased king/Pharaoh. Oversized sculpture emphasises body features  (breasts, lips, behind) of a women. 
The artist wanted to portray the woman as an important figure who can be as  strong and angry as a lion to defend her children. Unfortunately, she doesn't  always have control over the destiny of her children. The body in this case is  that of a woman and not a lion. It portrays the femininity of the sculpture. 

• The scale of the sculpture 

The scale of this artwork not only reflects the powerful ability of the artist to  create a challenging work, but also the power of all women.  

• The use of sugar and molasses as a medium 

Molasses and sugar being very sweet could refer to the women being called  'sweetness' or 'sugar'. Often this was done to degrade women and make them  cheap. Molasses and sugar also deteriorate over time but remains sweet.  Although women age, they still remain sweet and feminine.

• Candidates must write in which way the words 'sugar' and 'baby'  contribute to the meaning of the work.  

The words 'Sugar' and 'Baby' can be used as derogatory or as affectionate. A  sugar baby is also the name given to a young girl who dates an older man,  who is called a 'sugar daddy'. 'Baby' –is a stereotypical term given to a  woman who must bear and raise the children. She is sitting in the position of a  baby. Woman are seen as 'treats'- men always want love (sugar) from a  woman. 

(FIGURE 7c: The Sphinx had been included as a reference only and not  to be discussed as the main example.) (8) 

7.2 Candidates must refer to any TWO artists and their works they have studied,  and write an essay in which they comment on their portrayal of masculinity  and/or femininity. 

They may use the following guidelines in your answer: 

• Subject matter  
• Media and technique 
• Style  
• Messages/Meanings (12) [20] 

QUESTION 8: ARCHITECTURE IN SOUTH AFRICA 

8.1 Candidate must refer to the statement above and analyse the example in  FIGURE 8 by referring to the following guidelines: 

• Why would the architect use corn stalks and living root structures in  the design of his bricks? 

The artist uses 3M bio-design organic bricks (geometric forms) made from  corn stalks and living root structures. The bricks are without decoration and  made from simple materials. The repetition of structures/bricks represents a  sense of order. The organic bricks are arranged at the bottom of the structure  and reflective bricks are arranged at the top to bounce light down on the  towers and on the ground. There are no internal walls and the spaces are  open between the interior and exterior. The bricks are thin and porous at the  bottom. The structure offers shade for the garden. Rain can easily enter the  structure, as it is open at the top. The building is easy to maintain. No  windows have been used. It will make the bricks 100% organic and also 100%  biodegradable; it can be used for compost afterwards. Recycled cornstalks  and root structures used to grow bricks, will be a cheaper material than the  traditional materials.

• Why do the candidates think the bricks are not packed together  tightly? 

The building is eco-friendly (green) and easy to construct, which doesn't leave  a carbon footprint. The building has a wide entrance and it is open at the top,  allowing ample light to enter the structure. There are no windows, thus the  only natural light that enters this structure is through the side entrance and  two tunnel-like shapes. The movement of natural light reveals the simple,  clean spaces. The large structure has an organic form and the interior is  enclosed. The structure is solid and without windows. To let through light and  air, air will flow from the bottom, where it is loosely packed, up through the  open funnels (warm air rises)-the airflow will cool the building down. 

• Why has the architect decided to use a reflective material at the top  of the structure?  

The inexpensive bricks (material) are a lot cheaper, as they are recycled  growing trays. No electricity is needed as the architect makes use of natural  light. The construction can be assembled in a short period as no concrete is  used in the construction. The reflective bricks will reflect the blue sky and  clouds to give the building a visually on-going, growing, melting into the sky  feeling. 

• Do the candidates think the form/shape of this structure is visually/  aesthetically appealing? They must substantiate their answer.  

Candidates must substantiate their arguments of whether the structure is  visually appealing. The form and shape of the building support the ecological  and biological awareness being very organic and seems to be a growing  organism. (8) 

8.2 Candidates must discuss any TWO South African buildings/structures that  they have studied.  
They must include the following in their short essay: 

• Use of materials  
• Use of style 
• Possible influences (12) [20] 

TOTAL: 100

VISUAL ARTS
GRADE 12 
NSC PAST PAPERS AND MEMOS
NOVEMBER 2016

INSTRUCTIONS AND INFORMATION 
In this examination you must demonstrate the following skills: 

• The use of the correct art terminology 
• The use and implementation of visual analysis and critical thinking 
• Writing and research skills within a historical and cultural context
• The placing of specific examples into a cultural, social, political and historical  context 
• An understanding of distinctive creative styles 

Read the following instructions before deciding which questions to answer. 

1. This question paper consists of EIGHT questions.
2. Answer any FIVE questions for a total of 100 marks. 
3. Number the answers correctly according to the numbering system used in this  question paper.
4. Questions appear on the left-hand pages, with visual sources on the  right-hand pages. 
5. Ensure that you refer to the visual sources reproduced in colour where  required.
6. Information discussed in one answer will NOT be credited if repeated in other  answers. Cross-referencing of artworks is permissible.
7. Name the artist(s) and title of each artwork you discuss in your answers.  Underline the title of an artwork or the name of a building.
8. Write in a clear, creative and structured manner, using full sentences and  paragraphs according to the instructions of each question. The listing of  facts/tables is NOT acceptable.
9. Use the following guidelines for the length of your answers. Note the mark  allocation.
   • 6–8 marks: a minimum of ½–¾ page (paragraph)
   • 10–14 marks: a minimum of 1–1½ page(s) (short essay)
   • 20 marks: a minimum of 2 pages (essay)
10. Write neatly and legibly.

QUESTIONS

ANSWER ANY FIVE QUESTIONS.
QUESTION 1: THE VOICE OF EMERGING ARTISTS 

1.1 Compare the artworks in FIGURE 1a and FIGURE 1b considering the  following: 

• Colour and line 
• Balance 
• Composition 
• Style 
• Possible messages/meanings (8) 

1.2 Interpret the work of any TWO artists you have studied, who comment on  their surroundings. 

Include the following in your answer: 

• Social/Cultural influences 
• Media and technique 
• Style 
• Possible messages/meanings (12) [20]

QUESTION 2: SOUTH AFRICAN ARTISTS INFLUENCED BY AFRICAN AND/OR  INDIGENOUS ART FORMS 

2.1 Interpret the artwork depicted in FIGURE 2 by referring to the following: 

• Line and colour 
• Style and technique 
• The artist divides his composition into three distinct parts. Describe and  discuss the use of imagery in EACH of the three parts and their possible  messages/meanings. (8) 

2.2 Discuss ONE artwork by any TWO artists whose work expresses their African  identity due to the influences of indigenous African art forms. 
Use the following guidelines: 

• The influences of indigenous African art forms and symbols 
• Style and technique 
• Possible messages/meanings (12) [20]

QUESTION 3: SOCIOPOLITICAL ART, INCLUDING RESISTANCE ART OF THE  1970s AND 1980s 

3.1 

• How do you react to the title of this work (FIGURE 3)? Substantiate. 
• Discuss THREE of the issues addressed in this work by referring to the  following:
  • Choice of image(s)
  • Colour 
  • Composition (10) 

3.2 Compare how any TWO artists have expressed past/current sociopolitical  issues in their work. (10) [20]

QUESTION 4: ART, CRAFT AND SPIRITUAL WORKS MAINLY FROM RURAL  SOUTH AFRICA 

4.1 Compare FIGURE 4a with FIGURE 4b by referring to the following guidelines: 

• Placement of the figures 
• Colour and shape  
• Depth and movement  
• Materials/Techniques (8) 

4.2 Discuss ONE artwork from TWO different South African artists and/or craft  artists.  
Use the following as a guideline: 

• Formal art elements 
• Media and technique 
• Subject matter and use of imagery  
• Possible messages/meanings (12) [20]

QUESTION 5: MULTIMEDIA AND NEW MEDIA – ALTERNATIVE  CONTEMPORARY AND POPULAR ART FORMS IN SOUTH  AFRICA 

5.1 With reference to the text above and the visual sources in FIGURE 5a and  FIGURE 5b, describe how the artist communicates her message. 
You must refer to the following:  

• Significance of the colours 
• Significance of the size/scale  
• Use of materials and the contrasts between them 
• Symbolic meaning of the wool/strings/yarn, boats and keys 
• What is your understanding of the title of the work? Substantiate your  answer. (10)

5.2 Interpret ONE artwork by a South African artist who uses alternative media in  search of ways of communicating his/her ideas. (10) [20] 

QUESTION 6: POST-1994 DEMOCRATIC IDENTITY IN SOUTH AFRICA 

6.1 Discuss how the artists have expressed a contemporary, urban South African  identity using both FIGURE 6a and FIGURE 6b. 
Refer to the following guidelines: 

• Influences 
• Colour 
• Style and technique 
• Possible meanings/interpretations 
• In your opinion, which artwork portrays the strongest expression of urban  identity? Substantiate your answer. (10) 

6.2 Elaborate on the concept of urban identity by discussing TWO artworks. You must refer to the following: 

• Formal art elements 
• Composition 
• Media and technique 
• Style 
• Possible messages/meanings (10) [20]

QUESTION 7: GENDER ISSUES: MASCULINITY AND FEMININITY 

7.1 Write a short essay about Kara Walker's work A Subtlety, or the Marvelous  Sugar Baby, in which you refer to the following: 

• Why do you think the artist portrayed the figure as the Sphinx? Give  reasons for your answer. 
• The scale of the sculpture 
• The use of sugar and molasses as a medium 
• In which way do the words 'Sugar' and 'Baby' contribute to the meaning  of the work? (8) 

7.2 Refer to any TWO artists and their works you have studied, and write an  essay in which you comment on their portrayal of masculinity and/or  femininity. 

You may use the following guidelines in your answer: 

• Subject matter  
• Media and technique 
• Style  
• Messages/Meanings (12) [20]

QUESTION 8: ARCHITECTURE IN SOUTH AFRICA 

8.1 Refer to the statement above and analyse the example in FIGURE 8 by  referring to the following guidelines: 

• Why would the architect use corn stalks and living root structures in the  design of his bricks? 
• Why do you think the bricks are not packed together tightly? 
• Why has the architect decided to use a reflective material at the top of the  structure? 
• Do you think the form/shape of this structure is visually/aesthetically  appealing? Substantiate your answer. (8) 

8.2 Discuss any TWO South African buildings/structures that you have studied.  You must include the following in your short essay: 

• Use of materials  
• Use of style 
• Possible influences (12) [20]

TOTAL: 100

ENGINEERING GRAPHICS AND DESIGN
PAPER 2
GRADE 12 
NSC PAST PAPERS AND MEMOS
NOVEMBER 2016

INSTRUCTIONS AND INFORMATION 

1. This question paper consists of FOUR questions. 
2. Answer ALL the questions. 
3. ALL drawings are in third-angle orthographic projection, unless otherwise stated. 
4. ALL drawings must be completed using instruments, unless otherwise stated.
5. ALL answers must be drawn accurately and neatly.
6. ALL the questions must be answered on the QUESTION PAPER as instructed. 
7. ALL the pages, irrespective of whether the question was attempted or not, must be re-stapled in numerical sequence in the TOP LEFT-HAND CORNER ONLY.
8. Proper planning is essential in order to complete all the questions.
9. Print your examination number in the block provided on every page.
10. Any details or dimensions not given must be assumed in good proportion.

QUESTIONS 

QUESTION 1: ANALYTICAL (MECHANICAL) 
Given:
Three views of a trigger mechanism assembly, an enlarged view, a parts list, a title block and a table of questions. The drawings have not been prepared to the indicated scale. 
Instructions:
Complete the table below by neatly answering the questions, which refer to the accompanying drawings and the title block. [30]