INFORMATION TECHNOLOGY
PAPER ONE (P1)
GRADE 12 
EXAM PAPERS AND MEMOS
SEPTEMBER 2016

MEMORANDUM

SECTION A
QUESTION 1: MARKING GRID – GENERAL PROGRAMMING SKILLS

SECTION B 
QUESTION 2: MARKING GRID – OBJECT-ORIENTATED PROGRAMMING

SECTION C 
QUESTION 3: MARKING GRID – PROBLEM-SOLVING PROGRAMMING

NAME OF LEARNER: _________________________ GRADE 12: ________ SUMMARY OF LEARNER’S MARKS:

QUESTION 1 – SAMPLE SOLUTION
unit Question1_u; 
interface 
uses 

 Windows, Messages, SysUtils, Variants, Classes, Graphics, Controls, Forms,  Dialogs, StdCtrls, ComCtrls, ExtCtrls, Spin; 

type 

 TForm1 = class(TForm) 
 Panel1: TPanel; 
 Edit1: TEdit; 
 RadioGroup1: TRadioGroup; 
 ComboBox1: TComboBox; 
 ComboBox2: TComboBox; 
 RichEdit1: TRichEdit; 
 Button1: TButton; 
 Label1: TLabel; 
 Panel2: TPanel; 
 Panel3: TPanel; 
 Edit2: TEdit; 
 Edit3: TEdit; 
 Label2: TLabel; 
 Label3: TLabel; 
 Button2: TButton; 
 Button3: TButton; 
 Panel4: TPanel; 
 Button4: TButton; 
 ComboBox3: TComboBox; 
 ComboBox4: TComboBox; 
 ComboBox5: TComboBox; 
 ComboBox6: TComboBox; 
 Edit4: TEdit; 
 Edit5: TEdit; 
 Edit6: TEdit; 
 Edit7: TEdit; 
 SpinEdit1: TSpinEdit; 
 SpinEdit2: TSpinEdit; 
 SpinEdit4: TSpinEdit; 
 SpinEdit5: TSpinEdit; 
 SpinEdit6: TSpinEdit; 
 SpinEdit7: TSpinEdit; 
 Panel5: TPanel; 
 SpinEdit3: TSpinEdit; 
 Panel6: TPanel; 
 procedure Button1Click(Sender: TObject); 
 procedure Button2Click(Sender: TObject); 
 procedure Button4Click(Sender: TObject); 
 procedure Button3Click(Sender: TObject);
 private 

 { Private declarations } 

 public 

 { Public declarations } 

 end; 

var 

 Form1: TForm1; 
 ichange : integer; 
 slearner : string; 
implementation 

{$R *.dfm} 

procedure TForm1.Button1Click(Sender: TObject); 

var 

sinitial, ssurname, ssubjectto, ssubjectfrom, sgrade : string; 
ipos : integer; 

begin 

 slearner := edit1.text; 
 sinitial := slearner[1]; 
 ipos := pos(' ',slearner); 
 ssurname := copy(slearner,ipos + 1,length(slearner)-ipos); 
 sgrade := radiogroup1.items[radiogroup1.itemindex]; 
 ssubjectfrom := combobox1.text; 
 ssubjectto := combobox2.text; 
 if ssubjectfrom = ssubjectto then 
 richedit1.Lines.add('Incorrect information') 

 else 

 if (combobox1.ItemIndex = -1) and (combobox2.ItemIndex = -1) then  richedit1.lines.add('Learner: '+sinitial + ' '+ssurname+#13+'Grade: '+sgrade+#13+'NO  SUBJECT CHANGE') 

 else 
 begin 

 richedit1.lines.add('Learner: '+sinitial + ' '+ssurname+#13+'Grade:  '+sgrade+#13+'Subject Change from '+ ssubjectfrom+ ' to '+ ssubjectto);  Showmessage('Please submit all the required documents'); 

 end; 
end; 

procedure TForm1.Button2Click(Sender: TObject); 

var 

 sdob, sid : string; 

begin 

 sdob := edit2.text; 
 sid := edit3.text; 
 if (copy(sdob,3,2) = copy(sid,1,2)) and (copy(sdob,6,2) = copy(sid,3,2)) and  (copy(sdob,9,2) = copy(sid,5,2)) then 
 Showmessage('Correct') 

 else 

 Showmessage('Do not match'); 

end;

procedure TForm1.Button4Click(Sender: TObject); var 
 arrsubjects : array[1..7] of integer; 
 iabove40, iabove30, ibelow30, k : integer; 

begin 

 iabove40 := 0; 
 ibelow30 := 0; 
 iabove30 := 0; 
 arrsubjects[1] := spinedit1.value; 
 arrsubjects[2] := spinedit2.value; 
 arrsubjects[3] := spinedit3.value; 
 arrsubjects[4] := spinedit4.value; 
 arrsubjects[5] := spinedit5.value; 
 arrsubjects[6] := spinedit6.value; 
 arrsubjects[7] := spinedit7.value; 
 if arrsubjects[1] < 40 then 
 panel5.Caption := 'FAIL'; 
 for k := 1 to 7 do 

 begin 

 if arrsubjects[k] >= 40 then 

 begin 

 inc(iabove40); 

 end 
 else 

 if (arrsubjects[k] >= 30) and (arrsubjects[k] < 40) then 

begin ]

 inc(iabove30); 

 end 
 else 

 if (arrsubjects[k] < 30) then 
 inc(ibelow30); 

 end; 

 if (arrsubjects[1] < 40) or (iabove40 < 3) or (ibelow30 >=2 ) then  panel5.Caption := 'FAIL' 

 else 

 panel5.caption := 'PASS'; 

end; 

procedure TForm1.Button3Click(Sender: TObject); var 
 ilen, k, iran : integer; 
 susername : string; 

begin 

 randomize; 
 ilen := length(slearner); 
 ShowMessage(inttostr(ilen)); 
 susername := ''; 
 k := 0; 
 while (k < ilen) do

 begin 

 inc(k); 
 if not (upcase(slearner[k]) in ['A','E','I','O','U',' ']) then  susername := susername + slearner[k];  end; 
 showmessage(susername); 
 iran := random(301)+100; 
 panel6.Caption := susername + '%' + inttostr(iran) + '#'; end; 

end.

QUESTION 2 – SAMPLE SOLUTION 
unit clsLearners; 
interface 
uses sysutils; 
type 

TArrmarks = array[1..7] of integer; 

TLearner = class 

 private 

 fname : string; 
 fapspoints : integer; 
 fbachpass : boolean; 
 fsubject : integer; 

 public 

 constructor create(sname: string; isubject:integer);  procedure APS(arrmarks : Tarrmarks); 
 function bachpass(arrmarks : Tarrmarks):boolean;  function tostring : string; 

end; 

implementation 

{ TLearner } 

procedure TLearner.APS(arrmarks: Tarrmarks);
var 
 k, ilevel : integer; 

begin 

for k := 1 to 7 do 

begin 
 case arrmarks[k] of 
 80..100 : ilevel := 7; 
 70..79 : ilevel := 6; 
 60..69 : ilevel := 5; 
 50..59 : ilevel := 4; 
 40..49 : ilevel := 3; 
 30..39 : ilevel := 2; 
 0..29 : ilevel := 1; 
 end; 
 fapspoints := fapspoints + ilevel; 

 end; 
end; 

function TLearner.bachpass(arrmarks : Tarrmarks): boolean;
var 

 ibach, k : integer; 

begin 

 ibach := 0;
 for k := 1 to fsubject do 
 begin 

 if arrmarks[k] >=50 then 
 inc(ibach); 
 end; 
 if ibach >= 4 then 
 result := true 
 else 
 result := false; 
end; 

constructor TLearner.create(sname: string; isubject:integer); 
begin 

 fname := sname; 
 fsubject := isubject; 
 fapspoints := 0; 

end; 

function TLearner.tostring: string; 

begin 
 result := 'Learner Name: '+ fname + #13+ 'Bachelor Pass: Yes'+#13+'APS points:  '+inttostr(fapspoints); 
end; 

end. 
unit Question2_u; 
interface 
uses 

 Windows, Messages, SysUtils, Variants, Classes, Graphics, Controls, Forms,  Dialogs, clsLearners, StdCtrls; 

type 

 TForm1 = class(TForm) 
 Edit1: TEdit; 
 Button1: TButton; 
 Label1: TLabel; 
 procedure Button1Click(Sender: TObject); 
 private 

 { Private declarations } 

 public 

 { Public declarations } 

 end; 

var 

 Form1: TForm1; 
 Learner : TLearner; 
 arrmarks : Tarrmarks; 

implementation
{$R *.dfm} 

procedure TForm1.Button1Click(Sender: TObject); 
var 

 sname : string; 
 k, isubject : integer; 

begin 

 sname := edit1.text; 
 isubject := Strtoint(inputbox('How many subjects are you registered for?','',''));  if isubject < 7 then 
 begin 
 repeat 
 Showmessage('Minimum of 7 subjects are required'); 
 isubject := Strtoint(inputbox('How many subjects are you registered for?','',''));  until (isubject >=7); 
 end; 
 learner := TLearner.create(sname, isubject); 
 for k := 1 to isubject do 

 begin 
 arrmarks[k] := strtoint(inputbox('Enter Marks','Subject '+inttostr(k),'')); 
end; 

 if learner.bachpass(arrmarks) = true then 
 begin 
 learner.aps(arrmarks); 
 Showmessage(learner.tostring); 
 end 
 else 
 Showmessage('You did not meet the Bachelor Pass requirements');
end; 

end.

QUESTION 3 – SAMPLE SOLUTION 
unit Question3_u; 
interface 
uses 

 Windows, Messages, SysUtils, Variants, Classes, Graphics, Controls, Forms,  Dialogs, StdCtrls, ComCtrls; 

type 

 TForm1 = class(TForm) 
 Button1: TButton; 
 RichEdit1: TRichEdit; 
 Button2: TButton; 
 Button3: TButton; 
 Edit1: TEdit; 
 Edit2: TEdit; 
 Button4: TButton; 
 Label1: TLabel; 
 Label2: TLabel; 
 procedure FormCreate(Sender: TObject); 
 procedure Button1Click(Sender: TObject); 
 procedure Button2Click(Sender: TObject); 
 procedure Button3Click(Sender: TObject); 
 procedure Button4Click(Sender: TObject); 

 private 

 { Private declarations } 

 public 

 procedure Sort; 

 end; 

var 

 Form1: TForm1; 
 icount : integer; 
 arrexamnumbers : array[1..250] of string; 
 arrcentres : array[1..2] of string = ('4181078,Stirling High School', '4181009,Clarendon  High School for Girls'); 

implementation 
{$R *.dfm} 
procedure TForm1.FormCreate(Sender: TObject); 
var 

 myfile : textfile; 
 soneline : string; 

begin 

 if fileexists('examnumbers.txt') = true then 
 begin 
 Assignfile(myfile, 'examnumbers.txt'); 
 Reset(myfile);
 icount := 0; 
 while not eof(myfile) do 
 begin 

 readln(myfile,soneline); 
 inc(icount); 
 arrexamnumbers[icount] := soneline; 

end; 
 Sort; 
 Closefile(myfile); 

 end 
 else 

 Showmessage('File does not exist'); 
end; 
procedure TForm1.Sort; 
var 

 k, l : integer; 
 stemp : string; 
begin 

 for k := 1 to icount-1 do 
 for l := k + 1 to icount do 
 begin 

 if arrexamnumbers[k] > arrexamnumbers[l] then 

begin 

 stemp := arrexamnumbers[k]; 
 arrexamnumbers[k] := arrexamnumbers[l];  arrexamnumbers[l] := stemp; 

 end; 

 end; 

end; 
procedure TForm1.Button1Click(Sender: TObject);
var 

 k : integer; 

begin 

 for k := 1 to icount do 

 richedit1.lines.add(arrexamnumbers[k]);

end; 
procedure TForm1.Button2Click(Sender: TObject);
var 

 k,j, ipos, ilen, inum : integer; 
 ssearch,sschoolname,scentre : string; 
 bfound : boolean; 

begin 

 richedit1.Lines.clear; 
 k := 0; 
 j := 1; 
 inum := 0; 
 ssearch := inputbox('','',''); 
 bfound := false; 
 while (j <= 2) and (bfound = false) do

 begin 

 if copy(arrcentres[j],4,4) = copy(ssearch,4,4) then 
 begin 

 bfound := true; 
 ipos := pos(',',arrcentres[j]); 
 ilen := length(arrcentres[j]); 
 sschoolname := copy(arrcentres[j],ipos+1,ilen-ipos); 

end; 
 inc(j); 

 end; 

 if bfound = true then 
 begin 

 richedit1.lines.add(sschoolname + #13); 
 while (k <= icount) do
 begin 

 inc(k); 
 scentre := copy(arrexamnumbers[k],6,4); 
 if scentre = copy(ssearch,4,4) then 
 begin 

 inc(inum); 
 richedit1.lines.add(arrexamnumbers[k]); 

 end; 

 end; 
 richedit1.lines.add('Total Learners: ' + inttostr(inum)); 

end 
 else 
 richedit1.lines.add('Centre not found'); 

end; 
procedure TForm1.Button3Click(Sender: TObject); 
var 

 myfile : textfile; 
 scentre, sexamnumber : string; 
 k : integer; 
begin 

 Assignfile(myfile, 'examnumbers.txt'); 
 Append(myfile); 
 scentre := edit1.text; 
 sexamnumber := edit2.text; 
 inc(icount); 
 arrexamnumbers[icount] := sexamnumber; 
 writeln(myfile, sexamnumber); 
 Closefile(myfile); 
 Showmessage('New learner '+ sexamnumber+' - successfully added'); 
Sort; 
 richedit1.clear; 
 for k := 1 to icount do 
 richedit1.lines.add(arrexamnumbers[k]); 

 end;
procedure TForm1.Button4Click(Sender: TObject);
var 

 myfile : textfile; 
 sdelete : string; 
 k, idelete : integer; 
begin 

 Assignfile(myfile, 'examnumbers.txt');  Rewrite(myfile); 
 sdelete := inputbox('','',''); 
 for k := 1 to icount do 
 begin 

 if arrexamnumbers[k] = sdelete then  idelete := k; 

 end; 
 for k := idelete to icount - 1 do 
 arrexamnumbers[k] := arrexamnumbers[k+1]; 
 dec(icount); 
 arrexamnumbers[icount] := ''; 
 Showmessage('Learner deleted'); 
 Sort; 
 for k := 1 to icount do 
 begin 

 writeln(myfile,arrexamnumbers[k]);
 richedit1.Lines.add(arrexamnumbers[k]); 

end;
 Closefile(myfile); 

end; 

end.

INFORMATION TECHNOLOGY
PAPER ONE (P1)
GRADE 12 
EXAM PAPERS AND MEMOS
SEPTEMBER 2016

INSTRUCTIONS AND INFORMATION 

1. This question paper is divided into THREE sections. Learners must answer  ALL THREE sections.
2. The duration of this examination is THREE hours. Because of the nature of this  examination it is important to note that you will not be permitted to leave the  examination room before the end of the examination session.
3. Make sure that you answer the questions in accordance to the specifications  that are given in each question. Marks will be awarded according to the set  requirements. 
4. Answer only what is asked in each question. For example, if the question does  not ask for data validation, then no marks will be awarded for data validation. 
5. Your programs must be coded in such a way that they will work with any data  and not just the sample data supplied or any data extracts that appear in the  question paper. 
6. Routines such as search, sort and selection must be developed from first  principles. You may NOT use the built-in features of a programming language  for any of these routines. 
7. You must save your work regularly. 
8. The files that you need to complete this question paper have been given to you  on a disk/network. The files are given in the form of password-protected  executable files:
   Do the following: 

• • Double click on the password-protected executable file.
  • Click on the extract button.
  • Enter the following password: School%4*# 

QUESTION 1 
Question1_p.dpr 
Question1_u.pas 
Question1_u.dfm 
QUESTION 2 
clsLearners.pas 
Question2_p.dpr 
Question2_u.pas 
Question2_u.dfm 
QUESTION 3 
examnumbers.txt 
Question3_p.dpr 
Question3_u.pas 
Question3_u.dfm

QUESTIONS

SECTION A 
QUESTION 1: GENERAL PROGRAMMING SKILLS 

INSTRUCTIONS: 

1.1 Question 1.1 Button 
The learner must enter his/her name and surname in the given text area. The  relevant grade must be selected. The old and new subject must also be  selected. If the old and new subject is the same, display an ‘Incorrect  Information’ message. If no subject change is made, display the learner’s  details and ‘No subject change’. If a subject change has been made, display  the learner’s information as well as a message indicating that all required  documents should be submitted. 
Example of output: 

INCORRECT INFORMATION:                                                                                    NO SUBJECT CHANGE: 
                                 

SUBJECT CHANGE: 
   (13)

Question 1.2 Button 
The ID number must be validated by comparing it with the date of birth.  Display a suitable message to indicate whether it is correct or incorrect. 
Example of output: (8)

1.3 Question 1.3 Button 
A username needs to be created. It is generated by removing all the vowels  and spaces from the candidate’s name and surname (as entered in  Question 1.1); ‘%’; a random number between 100 and 300 (inclusive) and ‘#’. 
Example of output (Take note: The output will be different due to random  numbers): (11)

1.4 Question 1.4 Button 
Code must be written to calculate whether the candidate has achieved a pass  based on the marks they have entered.  
Requirements for a pass are as follows: 

• Home Language must be 40% or more 
• 40% in three other subjects 
• 30% in two subjects
  Display on the panel whether the candidate has passed or failed.

Example of output:

1.5          (15) 

TOTAL SECTION A: 47

SECTION B 
QUESTION 2: OBJECT-ORIENTED PROGRAMMING 

INSTRUCTIONS: 

2.1

2.1.1 Declare an array with class scope which will store the candidate’s  marks (maximum 10 subjects). The private attributes are given; declare  the public methods as you answer the questions below. (7) 
2.1.2 Write code for the constructor method which will receive and assign the  candidate’s name and number of subjects. The attribute fapspoints must be initialised. (3) 
2.1.3 Write a method called APS which will receive the marks from the array,  convert it to the respective level and then calculate the APS points. APS points are calculated by converting the percentages to the  respective levels and adding the levels together. 

Percentage           Level 
80-100                     7 
70-79                       6 
60-69                       5 
50-59                       4 
40-49                       3 
30-39                       2 
0-29                         1 (4) 

2.1.4 Write a method called BachPass which will receive the marks and  return whether the learner has achieved a bachelor’s pass.  
In order to qualify for a bachelor pass, the learner must achieve at least  50% in four subjects. Assume that all the subjects are from the  designated list of subjects. (8) 
2.1.5 Write a method called CompileString which will return the information  as shown in the following format: 

Learner’s Name: <fname> 
Bachelor Pass: <Yes/No> 
APS Points: <fapspoints> (3)

2.2 The learner’s name must be entered in the text area; then the number of  subjects that the learner is enrolled for must be entered using an InputBox  component.  
If the learner entered less than 7 subjects, then the learner must enter the  number of subjects again until it is 7 subjects or more. 
The learner must enter the marks and these marks must be stored in an array.  Once the marks are entered, then the program must check whether the learner  qualifies for a bachelor pass. If the learner has a bachelor pass, then APS must  be calculated. All the information must be displayed as shown in the example  below. All relevant methods must be called. 
If the learner does not qualify for a bachelor pass, a suitable message must be  displayed. (17) 
Example of output: 

TOTAL SECTION B: 42

SECTION C 
QUESTION 3: PROBLEM SOLVING PROGRAMMING 

INSTRUCTIONS: 

You are required to design a program that must be able to do the following: 

• Get the exam numbers from a text file named examnumbers.txt
• Sort and display the exam numbers
• Search for a specific centre 
• Add a new exam number to the array and text file 
• Delete an exam number 

Read the following sections before attempting the solution: 

• GUI and data supplied 
• Program requirements 
• Mark allocation 

NOTE: 

• You may NOT modify data supplied. 
•  The use of good programming techniques and modular design must be applied in  the design and coding of your solution.

GUI AND DATA SUPPLIED 
GUI 
The GUI contains components for input and output. Additional components will be  required. At least one dynamic component must be used.  
Example of GUI provided: 

DATA 
The exam centre number forms part of the candidate’s exam number. If the candidate’s exam number is 4151610060031, then it can be interpreted as  follows: 

• The last four numbers (0031) represents the candidate’s number at the centre
• The centre number consists of the numbers following the positions: 1; 4 – 9  (4161006)
• The second and third number (15) can be ignored in this question.

The exam centres are stored in a one-dimensional array called arrcentres.
The examnumbers of the candidates are stored in a textfile named  examnumbers.txt. 

PROGRAM REQUIREMENTS 
Get Information, Sort and Display 

• Get the contents of the examnumbers.txt text file. 
• Sort it in ascending order. 
• Display the sorted exam numbers. 

Search for centre number 

• The user must enter a centre number. 
• If the centre number is found, the school name as well as all the exam numbers  from that particular centre must be displayed.
• The total number of candidates must be displayed as well.
• If the centre number is not found, a suitable message must be displayed.

Add exam centre and exam number 

• Get the information that must be added from the user
• Add the exam number to the array as well as to the text file 
• Display a message that the exam number has been added to the text file ∙ Sort and display the updated array 

Delete an exam number 
Sometimes candidates are deregistered due to various reasons. 

• Ask the user to enter the exam number to be removed 
• Delete the exam number from the text file as well as from the array 
• Display a message once the exam number is deleted 
• Sort and display the updated array 
• Write the updated array to the existing text file 

MARK ALLOCATION 

TOTAL SECTION C: 61 
GRAND TOTAL: 150

MUSIC
PAPER TWO (P2)
GRADE 12 
EXAM PAPERS AND MEMOS
SEPTEMBER 2016

MEMORANDUM

SECTION A: AURAL 
QUESTION 1 (COMPULSORY) 

1.1 Listen to the melodic and rhythmic phrase. Notate the rhythm of the missing  notes in bars 2–3 below. 

1.2 Make a cross (X) in the block next to the correct time signature of this extract.
 (1)

[4]

QUESTION 2 (COMPULSORY) 

Listen to the extract from the second movement of Cello Concerto, Op. 104 by  A. Dvořák. Answer the questions that follow. 

2.1 Name the interval at 2.1, for example Major 3rd. 
Answer: Perfect 4th (1)

2.2 Fill in the missing notation at 2.2 in bars 12 and 13. (3)  

2.3 Identify the compositional technique used at 2.3 in bars 22–24.
Answer: Sequences (1) 

2.4 Name the cadence used at 2.4. 
Answer: Perfect Cadence (1)

[6] 
TOTAL SECTION A: 10 

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

3.1  (3) 

3.2      (3) 

3.3   (3) 

3.4         (3) 

(12 ÷ 3) [4]

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

4.1.1 Identify the brass instrument playing at the beginning of this extract.
Answer: French Horn (1) 

4.1.2 Describe this work with regard to genre, tempo and time signature.
Genre: Symphony (one mark) 
Tempo: Allegretto (one mark) 
Time signature: 6/8 OR compound duple (one mark) (3)
4.1.3 Provide this extract with a suitable title. 
Answer: Shepherds’ Song (1)

4.2 

4.2.1 Identify ONE woodwind and ONE string instrument that plays the  melody at the beginning of this extract. 
Woodwind instrument: Bassoon (one mark) 
String instrument: Cello (one mark) (2) 
4.2.2 With which ONE of the following genres do you associate this  extract? Make a cross (X) in the appropriate block.  (1)
 

 4.2.3 Identify the composer and give a title for this work. 
Composer: Mendelssohn (one mark) 
Title: Fingal’s Cave OR The Hebrides Overture (one mark) (2)

4.3 

4.3.1 Which style of composition that was predominantly used during the  Baroque period is evident in this extract? 
Answer: Fugal exposition OR Fugue (1) 
4.3.2 Name the subgenre in opera music that is associated with this  extract. 
Answer: Overture (1) 
4.3.3 Identify the composer of this work. 
Make a cross (X) in the appropriate block.  (1)

4.4 

Mark THREE items in COLUMN A that is related to Track 14. 
Make a cross (X) in THREE appropriate blocks.  (3) 

(16 ÷ 2) [8] 

OR

QUESTION 5: JAZZ 
5.1 

5.1.1 Identify the woodwind instrument playing in this extract. 
Answer: Clarinet (1)
5.1.2 Identify the South African jazz style. 
Answer: Marabi (1)
5.1.3 Name the group that you associate with this extract. 
Answer: Manhatten Brothers (1)

5.2 

5.2.1 Identify the South African jazz style. 
Answer: New Jazz (1)
5.2.2 Give TWO reasons to motivate your answer to QUESTION 5.2.1. 

• • Featured South African musicians Dollar Brand, Kippie  Moeketsi, Jonas Gwangwa and Hugh Masekela all destined  to shape South African jazz (one mark)
  • Influences of American modern jazz (Bebop) mixed with a  more distinctively South African sound (one mark) (2)

5.2.3 Describe the music with regard to typical rhythmical features and  time signature(s). 
Rhythm: Syncopation 
Time signature: Simple quadruple to simple triple (2)
5.2.4 Identify the group performing this work. 
Answer: The Jazz Epistles (1)
5.3 Play Track 17 TWICE. 

5.3.1 Identify the style and artist that can be heard in this extract. 
         Answer: Style: Early Jazz (one mark)  
         Artist: Dolly Rathebe (one mark) (2) 
5.3.2 Name ONE chordophone and ONE electrophone instrument  featured in this extract.  
Chordophone: Piano 
Electrophone: Electric Guitar (2)

5.4 

Mark THREE items in COLUMN A that is related to Track 18. Make a  cross (X) in THREE appropriate blocks.  (3) 

(16 ÷ 2) [8]

OR

QUESTION 6: IAM 
6.1 

6.1.1 Identify the type of African song associated with this extract. Make a cross (X) in the appropriate block.
 
6.1.2 Identify ONE vocal technique used in this extract. 
Answer: Ululation (1)
6.1.3 Which voice group performs this song? 
Answer: Men OR Tenor and Bass (1)

6.2 

6.2.1 Identify the South African style. 
Answer: Isicathamiya (1)

6.2.2 Describe the instrumentation used in this extract. 
Answer: Male voices (one mark) 
              singing a capella music (one mark) (2) 
6.2.3 Identify the group performing in this extract. 
Answer: Ladysmith Black Mambazo (1)

6.3 

 6.3.1 Name and define the style that you hear in this extract. 
Answer: Maskanda/Maskandi (one mark) 
              Virtuoso instrumentalist playing traditional music on Western instruments (one mark) (2) 
6.3.2 With which African tribe do you associate this music? 
Make a cross (X) in the appropriate block.

6.3.3 Identify ONE prominent chordophone instrument used in this extract.
Answer: Acoustic Guitar (1)
6.3.4 Why is this South African style so closely related to Blues? 
Answer: Because of the cyclical, repetitive (one mark) and picking of strings on the guitar (one mark) (2) 

6.4 

Mark THREE items in COLUMN A that is related to Track 22. Make a  cross (X) in THREE appropriate blocks.  (3) 

(16 ÷ 2) [8] 

TOTAL SECTION B: 12

QUESTION 7 (COMPULSORY) 
Read and study the questions for ONE minute.

7.1 Name the overall form of this work. 
Answer: Compound Ternary Form OR Minuet and Trio Form (1)
7.2 Give an analysis of the form of the Minuet. 
Minuet:  (9 ÷ 3) (3)

7.3 Give an analysis of the form of the Trio. 
Trio: (9 ÷ 3) (3)

7.4 How is the key of the Trio related to the key of the Minuet? 
Answer: Parallel key (C major – C minor) (1) 

TOTAL SECTION C: 8 
GRAND TOTAL: 30

MUSIC
PAPER ONE (P1)
GRADE 12 
EXAM PAPERS AND MEMOS
SEPTEMBER 2016

INSTRUCTIONS AND INFORMATION 

1. This question paper consists of FIVE sections, namely SECTIONS A, B, C, D  and E.
2. Answer SECTION A in pencil only in the spaces provided on this question  paper.
3. Answer SECTION B and C or D or E in blue or black ink in the ANSWER  BOOK provided. 
4. Number the answers correctly according to the numbering system used in this  question paper. 
5. The last page of this question paper is manuscript paper intended for rough  work. You may remove this page. 
6. You may NOT have access to any musical instrument for the duration of this  examination.
7. Use the table on the next page as a guide for mark and time allocation when  answering each question. 
8. Write neatly and legibly.

MEMORANDUM

SECTION A: THEORY OF MUSIC (COMPULSORY) 
Answer QUESTION 1, QUESTION 2.1 OR QUESTION 2.2, QUESTION 3, AND  QUESTION 4.1 OR QUESTION 4.2. 
Answer the questions in the spaces provided on this question paper. QUESTION 1 
Study the extract from Oboe Sonata, Op. 166 by C. Saint Seans below and answer the  questions that follow.

1.1 Name the key of this extract. (1) 

1.2 Name the type of triad at 1.2, for example diminished triad. (1) 

1.3 Give the intervals marked 1.3.1 and 1.3.2, for example major 2nd. (2) ie; (1) × (1)

1.3.1 (1)

1.3.2 (1)

1.4 Transpose the oboe part in bar 16 and 17 for Clarinet in Bb. Insert a new key  signature. 

Minus ½ a mark per mistake (8 x ½) (4) 
1.5 Re-write bar 7 of the piano part in half the note values. Insert a new time  signature. 

Minus ½ a mark per mistake 
½ a mark key signature 
½ a mark time signature 
½ a mark top part 
½ a mark bottom part (4 x ½) (2)

1.6 Improve the grouping in bars 10 and 11 of the oboe part. 

Minus ½ a mark per mistake (4 x ½) (2)

1.7 Why are rests not used on beat 2 and 3 in the bass clef in bar 10? (1) 

1.8 Write the following scales or modes according to the given instruction: 

1.8.1 B Dorian mode, descending without key signature. Use the bass  clef and minums. 

Minus ½ a mark per mistake (6 x ½) (3) 
1.8.2 C melodic minor scale, ascending, with key signature. Use the alto  clef and minums.

Minus ½ a mark per mistake (12÷3) (4)

[20]

QUESTION 2 
ANSWER EITHER QUESTION 2.1 OR QUESTION 2.2. 
2.1 Use the opening motif below and complete a 12-bar melody in ABA-form for any  single-line melodic instrument of your choice. Indicate the instrument for which you  are writing and add dynamics and articulation marks, as well as a tempo indication. 
Instrument: 

The melody will be marked according to the criteria below: 

[15] 

OR

2.2 Use the opening motif below and complete a 12-bar melody in ABA-form for any  single-line melodic instrument of your choice. Indicate the instrument for which you  are writing and add dynamics and articulation marks, as well as tempo indication. 
Instrument: 

The melody will be marked according to the criteria below: 

[15]

QUESTION 3 
Study the extract from O Ewigkeit, du Donnerwort by J.S. Bach below and answer the  questions that follow.

3.1 Figure the chords marked (a) – (d) on the score. Use EITHER figuring  symbols below the score OR chord symbols above the score. Note the  example answer in bar 1. (4) 

3.2 Name the cadences at (e) and (f). Write only the name of the cadence below  the score in the block provided.  (2) 

3.3 Name the type of non-chordal notes at (g) to (i). (3)

3.4 Name the relative key (major or minor) of this extract.  (1) 

[10]

QUESTION 4 
Answer EITHER QUESTION 4.1 (WAM) OR QUESTION 4.2 (JAZZ). 
4.1 Complete the four-part vocal harmonisation below by ading the alto, tenor and  bass parts. Use atleast TWO non-chordal notes. 

The harmonisation will be marked according to the criteria below: 

[15] 

OR

4.2 Complete the piece below by adding suitable harmonic material in the bass clef. 
Ensure that you write in the style of Ragtime. 

The harmonisation will be marked according to the criteria below: 

[15] 
TOTAL SECTION A: 60

SECTIONS B, C, D, E: GENERAL MUSIC KNOWLEDGE 
Answer SECTION B (COMPULSORY) 
AND SECTION C (Western Art Music) 
OR SECTION D (Jazz) 
OR SECTION E (Indigenous African Music) 
Answer these questions in an ANSWER BOOK. 
SECTION B: GENERAL (COMPULSORY) 
QUESTION 5 
5.1 Four options are provided as possible answers to the following questions.  Choose the answer and write only the letter (A–D) next to the question number  in the ANSWER BOOK, for example 5.11 E. (10) 

5.2

5.2.1 South African Music Rights Organisation (1) 
5.2.2 Protect musicians’ rights and collect money for songwriters in South  Africa and abroad. (1) 
5.2.3 2059 (Copyright last for 50 years post death) (1) 

5.3

• Register the work with a collection agency
• Post the work to yourself
• A Commissioner of Oath can certify the work (3 x 1) (3)

5.4

5.4.1 True 
5.4.2 False 
5.4.3 True 
5.4.4 False (4 x 1) (4)

TOTAL SECTION B: 20

Answer SECTION C (Western Art Music) 
OR SECTION D (Jazz) 
OR SECTION E (Indigenous African Music) 
SECTION C: WESTERN ART MUSIC (WAM) 
QUESTION 6 
6.1 Beethoven composed 9 symphonies. (1)
6.2 They are both overtures. (1) 
6.3 A symphony is a large scale work in 4 or more movements while a  symphonic poem is a one movement work that is normally programmatic in  nature. (2) 
6.4 Free Masonary (1) 
6.5 The Wedding March OR A Midsummer Night’s dream OR the hymn tune  “Hark the Herald Angels Sing”. (2) 
6.6 Piano/Violin Sonata, Oratorio, Symphony, Chamber music (Any 2 x 1) (2) 
6.7 Opera seria refers to operas with a serious theme/story while opera comique is light hearted and comedic in nature. (2)

[10] 

QUESTION 7 
7.1

7.1.1 The name Mannheim School refers to a group of composers and  musicians that worked at the court of Duke Carl Theodor in  Mannheim, Germany, where the best composers where brought  together. (2) 
7.1.2 ∙

• • Melodic prominence given to the violins
  • Clarinet brought into orchestra 
  • Harpsichord no longer used 
  • Continuo part replaced by written parts for all instruments 
  • Addition of orchestral effects, e.g. the tremolo and broken chord in rapid notes. 
  • Replaced contrapuntal writing with homophonic texture
  • Effective use of crescendo and diminuendo. 
  • Established the sections of sonata form and the four-movement  symphony structure
  • The Minuet and Trio is added as the third movement. (Any 5 x 1) (5) 

7.2

7.2.1 B 
7.2.2 C 
7.2.3 A (3 x 1) (3)

[10]

QUESTION 8 
8.1 Use the following list of elements to write a paragraph on the style  characteristics of the Romantic period. 

• Melody
  • Song-like melodies (Lyrical)
  • Wide leaps, e.g. 6ths, 7ths, diminished 
  • Augmented intervals are used for expressive purposes
  • Phrases not so regular and balanced as in the Classical Period - Melody with accompaniment frequently used (1)
• Harmony 
  • Many dischords 
  • Chords used as a means of expressive colour 
  • Development of chromatic harmonies 
  • Freer use of non-harmonic tones and chromatic voice leading 
  • Often use 9th, 11th and 13th chords (1)
• Tonality 
  • Sudden key changes were common 
  • Interchange of harmonies and keys from major to minor and vice versa was common 
  • Distant modulations, tonal ambiguity, and tendency to avoid 
  • distinct cadences (1)
• Texture 
  • Use a wide range of pitch, dynamics and tone colours 
  • Dense textures were common 
  • Textures change within a piece (1)
• Rhythm 
  • Freedom and flexibility of rhythm 
  • Rhythms tend to be less vital, and more focus on lyrical,  expressive melodies
  • Sometimes use movements based on one unbroken rhythmic  pattern and cross-rhythms (1) 

8.2 The Hebrides Overture Op. 26 is in B minor and written in sonata form.  The instrumentation consists of strings (Violin, viola, cello, double bass),  2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets and  timpani. (4)
8.3 The music was inspired by Mendelssohn’s boat trip to the Fingals cave on  the island of Staffa off the west coast of Scotland, which is known for its  weird echoes. (1)

[10] 

QUESTION 9 
First movement – Awakening of cheerful feelings on arrival in the  countryside. 

• Time signature: 2/4 
• Key: F major 
• Form: Written in sonata form 

• A leisurely movement in which the brook murmurs in quavers or semiquavers  almost throughout. 
• The first subject is built up of five figures, which are used throughout the  movement. 
• Scored for flute, oboe, clarinet in Bb, bassoon, horn and strings 

Fourth Movement – Thunderstorm 

• Time signature: 4/4
• Key: F minor 
• Form: Programme music 

• The 4th movement depicts a violent thunderstorm with painstaking realism,  building from just a few drop or rain to a great climax with thunder, lightning,  high winds and sheets of rain. The storm eventually passes with an  occasional peal of thunder still heard in the distance. There is a seamless  transition into the final movement.
• The pp staccato quavers played by the violins in bar 3 give the effect of the  first raindrops.
• The drums enter for the first time in bar 21, representing the first big roll of  thunder.
• Two additional trombones enter for the first time in bar 106 giving additional  strength when the storm reaches its climax.
• The storm reaches its climax with tremolos and drum rolls. 

(16 ÷1.6) [10] 
TOTAL SECTION C: 40

OR 

SECTION D: JAZZ 
QUESTION 10 
10.1 New Orleans (1)
10.2 The Jazz Epistles (1)
10.3 Dolly Rathebe, Thandi Klaasen (2)
10.4 Kwela, a pennywhistle-based street music developed in South Africa. (1)
10.5 Fusion (1)
10.6 Piano (1)
10.7 The Blue Notes (1)
10.8

10.8.1 Pata Pata (1) 
10.8.2 1989 (1)

[10] 

QUESTION 11 

• Known as one of the greatest pennywhistlers in South Africa.
• Performed/composed in Kwela style: Kwela is a pennywhistle-based street  music. This style developed in South Africa blending with the music of  Malawian immigrants. Uses simple chord progressions which are made up  mostly of primary chords (I, IV, and V).
• Spokes claims that the inspiration for his songs come from his dreams.
• Albums included King Kwela, Ace Blues, Kwela Spokes, Chobolo, Sono  Sam. (Only ONE album)

[7]

QUESTION 12 
12.1

• Voice is a jazz quintet consisting of some of South Africa’s leading jazz  musicians. The group includes musicians such as Andile Yenana (Piano),  Sydney Mnisi (Saxophone), Marcus Wyatt (Trumpet), Herbie Tsoaeli  (Bass), Morabo Morojele (Drums).
• Voice is inspired by early jazz musicians such as Abdullah Ibrahim. There  compositions are in Marabi and Kwela styles. They are also influenced by bebop and Latin Jazz. (4) 

12.2

12.2.1 True 
12.2.2 True 
12.2.3 False 
12.2.4 False (4 x 1) (4)

[8] 

QUESTION 13 

• The Jazz Epistles were made up of 6 members. It included Dollar Brand, later  known as Abdullah Ibrahim (Piano), Kippie Moeketsi (Alto Saxophone), Jonas  Gwangwa (Trombone), Hugh Masekela (Trumpet), Johnny Gertze (Bass) and  Early Mabuza OR Makaya Ntshoko (Drums).
• They were the first important Bebop band in South Africa. Bebop is a style of jazz  characterised by a fast tempo, instrumental virtuosity and improvisation.
• This style began during the mid-1940’s in the USA and aimed to counter the  popular swing style of the time with a new non-danceable style of music. 
• The music contained advanced harmonies, complex syncopation and the role  of the rhythm section was expanded. During the apartheid system, jazz offered  a way to protest against the political system of the time. The South African  government made numerous attempts at suppressing the music by controlling  radio broadcasts and raiding jazz clubs.
• First album by Jazz Epistles was ‘Jazz Epistle, Verse 1

[15]
TOTAL SECTION D: 40

OR 

SECTION E: INDIGENOUS AFRICAN MUSIC (IAM) 
QUESTION 14 
14.1 Chordophone (1) 
14.2 A singer, storyteller, praise singer that presents a series of important  events through song or praise or narrative. (2) 
14.3 An ululation is a long, wavering, high-pitched vocal sound resembling a  howl with a trilling quality. (1) 
14.4 Mbaqanga (1) 
14.5 The mixed structural form is a combination of call and response, call and  refrain and call and chorus refrain. An ending sentence/phrases is not used  to respond to the call. (2) 
14.6 Beatboxing (1) 
14.7

• Comprises of eight to ten “pipe blowers” and three drum beaters.
• Lyrics are in many different languages including isiZulu, Shona and  Northen Ndebele, Sepedi. (2)

[10]

QUESTION 15 
Definition of the word 

• The word originates from the Zulu word ‘Cothoza’ which means to ‘walk on one’s toes lightly’. 
• It was originally sung by the workers in the early Natal Province where they held  competitions amongst each other. 
• It is known as a Zulu style that is just as famous as maskanda music. ∙ Isicathamiya was made famous by the SA group, Ladysmith Black Mambazo.
• The word ‘Isicathamiya’ is derived from the word cathama which means to crawl  like a cat or walk on your toes as the workers were compelled to practice their  dance moves softly in the evenings. (2) 

Characteristics of the music 

• It is in the style of a capella harmonious singing. It is a style where men sing  without accompaniment. 
• Uses call and response between the leader and the group. 
• Singing generally in four parts. 
• Vocal techniques such as crepitation and ululation. 
• Lyrics mostly in isiZulu and choreography is derived from traditional isiZulu  dancing. (4) 

ONE important album and its composer(s) 

• Ladysmith Black Mambazo (Shaka Zulu/Long walk to Freedom/Journey of  Dreams/Gift of the Tortoise/Songs from Zulu-Farm)  (2) 

[8] 

QUESTION 16 
Style/Characteristics 

• Afro Soul is the term given to the music genre that is a fusion between soul  music (A style that combines elements of gospel, rhythm and blues and jazz)  and African music. (3)

Instrumentation 

• A distinct feature of Afro Soul is the strong influence of vocals. The instrumentation consists mainly of drums, bass, guitar and vocal (AND  backing vocals) (4 ÷ 2) (2) 

TWO artists 

• Artists such as Hugh Masekela and Mirriam Makeba composed in an Afro Soul  style. (2)

[7]

QUESTION 17 
Cultural origins (any TWO) 

• Maskandi means a virtuoso instrumentalist who plays traditional music on  Western instruments.
• Traditionally maskandi music consists of a song evolving with the singers’  (usually a male singer) real life experiences, his daily joys etc.
• The term Maskanda comes from the Afrikaans word “musikant” which means  musician, and is associated with Zulu folk music. 
• Maskandi is a kind of Zulu folk music that has evolved within South African  society, particularly in Kwazulu-Natal. (2) 

Typical instrumentation 

• Typical instrumentation consists of a concertina, acoustic guitar, bass guitar,  keyboards, synthesizer, drums and backing vocalists. Normally associated with  the guitar. (5) 

Style characteristics of the music 

• Traditional songs begin with a flourish on the guitar or accordion and is referred  to as “izihlabo” – “This is what I am going to play and this is who I am.” 
• The guitar is not tuned the same as the traditional tuning. Lyrical content  includes praise, storytelling and migrant culture. 
• People dance, play drums and clap hands in different ways and the dances that  is portrayed signifies the district or area where the maskandi orginated. 
• The frontman’s natural personality is a key element in the music. 
• Use of rapidly spoken sections of Zulu praise poetry, called “izibongo”.
• Known as “Zulu Blues”, because of the cyclical repetitive and picking strings on  the guitar. (5) 

THREE artists that were influential in exposing Maskandi to the international  market. 

• Artists like Johnston Zibokwakhe Mnyandu, Bhodloza Nzimande, Amatshitshi  Amhlophe, Amashayina Amahle, Siyani Ngcobo, Imithente, Inkunzi Emdaka and  Izingane Zoma contributed in exposing Maskandi to the international market. (3)

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

MUSIC
PAPER ONE(P1)
GRADE 12 
EXAM PAPERS AND MEMOS
SEPTEMBER 2016

INSTRUCTIONS AND INFORMATION 

1. This question paper consists of FIVE sections, namely SECTIONS A, B, C, D  and E.
2. Answer SECTION A in pencil only in the spaces provided on this question paper.
3. Answer SECTION B and C or D or E in blue or black ink in the ANSWER BOOK  provided.
4. Number the answers correctly according to the numbering system used in this  question paper.
5. The last page of this question paper is manuscript paper intended for rough work.  You may remove this page. 
6. You may NOT have access to any musical instrument for the duration of this  examination.
7. Use the table on the next page as a guide for mark and time allocation when  answering each question.
8. Write neatly and legibly.

MARKING GRID

QUESTIONS

SECTION A: THEORY OF MUSIC (COMPULSORY) 
Answer QUESTION 1, QUESTION 2.1 OR QUESTION 2.2, QUESTION 3, AND  QUESTION 4.1 OR QUESTION 4.2. 
Answer the questions in the spaces provided on this question paper.
QUESTION 1 
Study the extract from Oboe Sonata, Op. 166 by C. Saint Seans below and answer the  questions that follow.

1.1 Name the key of this extract. (1) 
1.2 Name the type of triad at 1.2, for example diminished triad. (1) 

1.3 Give the intervals marked 1.3.1 and 1.3.2, for example major 2nd.

1.3.1 ——————————————————————————————
1.3.2——————————————————————————————(2) 

1.4 Transpose the oboe part in bar 16 and 17 for Clarinet in Bb. Insert a new key  signature. 
(1) 
1.5 Re-write bar 7 of the piano part in half the note values. Insert a new time  signature. 
(2)
1.6 Improve the grouping in bars 10 and 11. 

1.7 Why are rests not used on beat 2 and 3 in the bass clef in bar 10? (1)
1.8 Write the following scales or modes according to the given instruction: 

1.8.1 B Dorian mode, descending without key signature. Use the bass  clef and minums. 
(3) 

1.8.2 C melodic minor scale, ascending, with key signature. Use the alto  clef and minums. 
(4)

[20]

QUESTION 2 
ANSWER EITHER QUESTION 2.1 OR QUESTION 2.2. 
2.1 Use the opening motif below and complete a 12-bar melody in ABA-form for any  single-line melodic instrument of your choice. Indicate the instrument for which you  are writing and add dynamics and articulation marks, as well as a tempo indication. 

Instrument: —————————————————————————————————————————————————

The melody will be marked according to the criteria below: 

[15] 

OR

2.2 Use the opening motif below and complete a 12-bar melody in ABA-form for any  single-line melodic instrument of your choice. Indicate the instrument for which you  are writing and add dynamics and articulation marks, as well as tempo indication. 

Instrument:  —————————————————————————————————————————————————

The melody will be marked according to the criteria below: 

[15]

QUESTION 3 
Study the extract from O Ewigkeit, du Donnerwort by J.S. Bach below and answer the  questions that follow. 

3.1 Figure the chords marked (a) – (d) on the score. Use EITHER figuring symbols  below the score OR chord symbols above the score. Note the example answer  in bar 1. (4) 
3.2 Name the cadences at (e) and (f). Write only the name of the cadence below  the score in the block provided. (2)
3.3 Name the type of non-chordal notes at (g) to (i). 

(g)  —————————————————————————————————————————————————
(h)  —————————————————————————————————————————————————
(i) ————————————————————————————————————————————————— (3)

3.4 Name the relative key (major or minor) of this extract. (1) 

[10]

QUESTION 4 
Answer EITHER QUESTION 4.1 (WAM) OR QUESTION 4.2 (JAZZ). 
4.1 Complete the four-part vocal harmonisation below by ading the alto, tenor and  bass parts. Use at least TWO non-chordal notes. 

The harmonisation will be marked according to the criteria below: 

[15] 

OR

4.2 Complete the piece below by adding suitable harmonic material in the bass clef.  Ensure that you write in the style of Ragtime. 

The harmonisation will be marked according to the criteria below: 

[15] 
TOTAL SECTION A: 60

SECTIONS B, C, D, E: GENERAL MUSIC KNOWLEDGE 
Answer SECTION B (COMPULSORY) 
AND SECTION C (Western Art Music) 
OR SECTION D (Jazz) 
OR SECTION E (Indigenous African Music) 
Answer these questions in an ANSWER BOOK. 

SECTION B: GENERAL (COMPULSORY) 
QUESTION 5 
5.1 Four options are provided as possible answers to the following questions.  Choose the answer and write only the letter (A–D) next to the question number  in the ANSWER BOOK, for example 5.11 E. 

5.1.1 The three types of minor scales are: 

1. 1. Harmonic, Pentatonic, Chromatic. 
   2. Natural, Blues, Major. 
   3. Harmonic, Melodic, Natural.
   4. Wholetone, Natural, Chromatic (1)

5.1.2 Which note is raised in a chord when using a Tierce de Picardie? 

1. 1. 1 
   2. 3 
   3. 7
   4. 5 (1)

5.1.3 The Cor anglais belongs to which instrumental family? 

1. 1. Brass 
   2. Percussion 
   3. Woodwind 
   4. Strings (1) 

5.1.4 Rondo is usually associated with which movement of a  sonata/symphony? 

1. 1. 1st 
   2. 2nd 
   3. 3rd 
   4. 4th (1)

5.1.5 How many semi-quavers fit into a dotted semibreve? 

1. 1. 8 
   2. 14 
   3. 12 
   4. 24 (1)

5.1.6 Which THREE elements define musical form? 

1. 1. Variation, Barlines, Melody.
   2. Tone, Repetition, Articulation. 
   3. Contrast, Dynamics, Tone. 
   4. Repetition, Variation, Form. (1)

5.1.7 Which ONE of the following is not an articulation marking? 

1. 1. Staccato 
   2. Tenuto 
   3. Fermata 
   4. Legato (1)

5.1.8 A cappella refers to a … 

1. 1. sudden increase in tempo. 
   2. concerto soloist.
   3. work performed without accompaniment. 
   4. trombone mute. (1)

5.1.9 A chromatic interval refers to an interval where … 

1. 1. two notes sound together. 
   2. both intervals are in the given key. 
   3.  one or both notes are inverted. 
   4. one or both notes are not in the given key. (1)

5.1.10 A Coda is generally found … 

1. 1. after a key change.
   2. at the end of the piece. 
   3.  within the development. 
   4. before the exposition. (1)

5.2 Answer the following questions. 

5.2.1 What does the accronym SAMRO mean? (1)
5.2.2 What is the function of SAMRO? (1) 
5.2.3 Michael Jackson died in 2009. In what year will the copyright expire on  his compositions? (1) 

5.3 Give THREE ways in which a new composition can be registered. (3) 
5.4 Complete the following by saying whether the following statements are TRUE  or FALSE. 

5.4.1 Pirate recordings are legitimate recordings that are illegally copied.
5.4.2 Music piracy does not have a negative effect on the music industry.
5.4.3 Copyright allows composers to reproduce and distribute their music.
5.4.4 Online piracy refers to the downloading of films only. (4 x 1) (4)

TOTAL SECTION B: 20

Answer SECTION C (Western Art Music) 
OR SECTION D (Jazz) 
OR SECTION E (Indigenous African Music) 
SECTION C: WESTERN ART MUSIC (WAM) 
QUESTION 6 
6.1 How many symphonies did Beethoven compose? (1) 
6.2 What is the similarity between Fingals Cave Op.26 and the opening of The  Magic Flute? (1) 
6.3 What is the difference between a symphony and symphonic poem? (2)
6.4 Which ancient secret order was referenced in The Magic Flute? (1)
6.5 Name ONE famous work by Mendelssohn (Other than Fingal’s Cave). (2)
6.6 Apart from opera, give TWO genres in which Mozart composed. (2) 
6.7 What is the difference between opera seria and opera comique? (2)

[10] 

QUESTION 7 
7.1 The Mannheim School played a significant role in the development of the  orchestra and symphony. 

7.1.1 What is the Mannheim School? (2) 
7.1.2 Give FIVE stylistic developments that the Mannheim School  introduced. (5) 

7.2 Match the voice type in COLUMN B with the character in COLUMN A. Write  only the letter (A–C) next to the question number (7.2.1–7.2.3) in the ANSWER  BOOK, for example 7.2.4 E. 

(3 x 1) (3) 

[10]

QUESTION 8 
8.1 Use the following list of elements to write a paragraph on the style  characteristics of the Romantic period. 

• Melody (1) 
• Harmony (1) 
• Tonality (1) 
• Texture (1)
• Rhythm (1) 

8.2 Describe the Hebrides Overture Op. 26 by Mendelssohn by giving the  key, form and basic instrumentation of the work. (4) 
8.3 Where did Mendelssohn find the inspiration for the Hebrides Overture? (1)

[10] 

QUESTION 9 
Write an article for the Gramophone magazine readers, where you describe the  FIRST and FOURTH movement of Beethoven’s Symphony no.6 Op. 68. Refer to  the following guidelines: 

• Movement titles (2) 
• Time signatures (2) 
• Keys (2) 
• Forms (2) 
• Any THREE features of the movements (6) 
• Style and language (2) (16 ÷1.6)

[10] 
TOTAL SECTION C: 40 

OR

SECTION D: JAZZ 
QUESTION 10 
10.1 In what city is jazz said to have originated? (1)
10.2 Which jazz group composed “vary-oo-vum”? (1)
10.3 Other than Miriam Makeba, give TWO examples of an early jazz singer. (2)
10.4 Where did Kwela originate? (1)
10.5 Which style of jazz makes use of both rock and funk? (1)
10.6 What instrument does Abdullah Ibrahim play? (1)
10.7 Which South African group released the album “Township Bop”? (1)
10.8

10.8.1 What is the name of Miriam Makeba’s international hit? (1) 
10.8.2 In what year was this song released? (1)

[10] 

QUESTION 11 
You are asked to write a short press release for an upcoming tribute to Spokes  Mashiyane. Your article should include the following information: 

• His main instrument (1) 
• Musical style and characteristics of that style (4) 
• Musical inspiration (1) 
• ONE album (1)

[7] 

QUESTION 12 
12.1 Write brief notes on the jazz group Voice. Your notes should include the following: 

• TWO band members
• Style and Influences of the group (4)

12.2 Say whether the following statements are TRUE of FALSE. 

12.2.1 Bebop makes use of fast scales and arpeggio. 
12.2.2 Marabi style is deeply rooted in ragtime and blues. 
12.2.3 Kwela consists of SEVEN different chord changes. 
12.2.4 Mbaqanga is a style of South African music with Xhosa roots. (4 x 1) (4)

[8]

QUESTION 13 
The Jazz Epistles were the first important band of its kind in South Africa. 
Write an essay outlining the bands career with reference to the following points: 

• Band members (6 ÷ 2) (3) 
• Instruments (6 ÷ 2) (3) 
• Characteristics of the music (5) 
• The characterisation of Jazz during the Apartheid era (2) 
• ONE album (1) 
• Style and language (1)

[15] 
TOTAL SECTION D: 40 

OR

SECTION E: INDIGENOUS AFRICAN MUSIC (IAM) 
QUESTION 14 
14.1 An Uhadi belongs to which musical instrument category? (1)
14.2 What is a Chronicler? (2)
14.3 Define the term Ululation. (1)
14.4 Which style would you associate with Dolly Rathebe? (1)
14.5 What is meant by ‘The mixed structural form’? (2)
14.6 Give a modern term for ‘Mouth Drumming’ (1) 
14.7 Give TWO style characteristics of free kiba music. (2)

[10] 

QUESTION 15 
You are asked to write a short press release for an Isicathamiya choir competition. 
Your article should include the following information: 

• Definition of the word (2) 
• Characteristics of the music (4) 
• ONE important album and its composer/s (2)

[8] 

QUESTION 16 
Write a Wikipedia entry on Afro Soul, where you describe the style/characteristics of  the music as well as the typical instrumentation. Give TWO examples of South  African Afro Soul artists. 

• Style/Characteristics (3) ∙
• Instrumentation (4 ÷ 2) (2) ∙
• TWO artists (2)

[7]

QUESTION 17 
Write an essay where you describe Maskandi music. Include the following aspects in  your essay: 

• Cultural origins (2) ∙
• Typical instrumentation (5) ∙
• Style characteristics of the music (5)
• THREE artists that were influential in exposing Maskandi to the international  market. (3) 

[15] 
TOTAL SECTION E: 40

ROUGH WORK

MUSIC
PAPER TWO (P2)
GRADE 12 
EXAM PAPERS AND MEMOS
SEPTEMBER 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. Candidates must write their answers on this question paper. Use a pencil for  music notation and blue or black ink for the other answers.
5. This examination will be written while candidates listen to a CD. 
6. The music teacher at the centre must conduct the examination in the presence  of the invigilator.
7. The last page of the question paper is manuscript paper intended for rough  work. It may be removed by the candidate.
8. Candidates may NOT have access to any musical instrument for the duration  of this examination.
9. Write neatly and legibly. 

INSTRUCTION TO THE PERSON OPERATING THE SOUND EQUIPMENT

1. The instructions for the music teacher appears in the frames. 
2. Each musical extract (track) must be played the number of times specified in  the question paper. 
3. Allow enough time between tracks to allow candidates time to think and write  their answers before playing the next track. 
4. The number of the track must be announced clearly each time before it is  played.
5. If a school offers more than one stream (WAM, JAZZ, IAM), the following  guidelines must be followed: 

• • Each stream must write the examination in a separate venue. 
  • Each venue must be equipped with suitable sound equipment. 
  • Each venue must have its own CD with musical extracts
  • An invigilator must be present in each venue. 
  • The tracks have to be played as follows:
    • WAM candidates: Tracks 1 to 14 and Track 23.
    • JAZZ candidates: Tracks 1 to 10; Tracks 15 to 18 and Track 23.
    • IAM candidates: Tracks 1 to 10 and Tracks 19 to 23.

6. A battery-powered CD player must be available In case of a power failure.

MARKING GRID

QUESTIONS

SECTION A: AURAL 
QUESTION 1 (COMPULSORY) 

1.1 Listen to the melodic and rhythmic phrase. Notate the rhythm of the missing  notes in bars 2–3 below. 

(3)

1.2 Make a cross (X) in the block next to the correct time signature of this extract.
(1)

 [4]

QUESTION 2 (COMPULSORY) 

Listen to the extract from the second movement of Cello Concerto, Op. 104 by  A. Dvořák. Answer the questions that follow. 

2.1 Name the interval at 2.1, for example Major 3rd. (1)

2.2 Fill in the missing notation at 2.2 in bars 12 and 13. (3) 

2.3 Identify the compositional technique used at 2.3 in bars 22–24. (1) 

2.4 Name the cadence used at 2.4. (1) 

[6] 
TOTAL SECTION A: 10

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

3.1    (3) 

3.2 (3) 

3.3         (3) 

3.4    (3) 

(12 ÷ 3) [4]

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

4.1 

4.1.1 Identify the brass instrument playing at the beginning of this extract. (1) 

4.1.2 Describe this work with regard to genre, tempo and time signature.

Genre: 
Tempo:
Time signature: (3)

4.1.3 Provide this extract with a suitable title. (1) 

4.2 

4.2.1 Identify ONE woodwind and ONE string instrument that plays the  melody at the beginning of this extract. 
Woodwind instrument: 
String instrument: (2) 
4.2.2 With which ONE of the following genres do you associate this  extract? Make a cross (X) in the appropriate block. 

(1) 

4.2.3 Identify the composer and give a title for this work. 

Composer: 

Title: (2)

4.3

4.3.1 Which style of composition that was predominantly used during the  Baroque period is evident in this extract? (1) 
4.3.2 Name the subgenre in opera music that is associated with this  extract. (1) 
4.3.3 Identify the composer of this work. 
Make a cross (X) in the appropriate block. 

(1)
4.4

Mark THREE items in COLUMN A that is related to Track 14. 
Make a cross (X) in THREE appropriate blocks.  

(3) 
(16 ÷ 2) [8] 

OR

QUESTION 5: JAZZ 
5.1 

5.1.1 Identify the woodwind instrument playing in this extract. (1) 
5.1.2 Identify the South African jazz style. (1) 
5.1.3 Name the group that you associate with this extract. (1) 

5.2 

5.2.1 Identify the South African jazz style. (1) 
5.2.2 Give TWO reasons to motivate your answer to QUESTION 5.2.1. (2) 

5.2.3 Describe the music with regard to typical rhythmical features and  time signature(s). 
Rhythm: 
Time signature: (2)
5.2.4 Identify the group performing this work. (1)

5.3 

5.3.1 Identify the style and artist that can be heard in this extract. (2) 
5.3.2 Name ONE chordophone and ONE electrophone instrument  featured in this extract.  
Chordophone: 
Electrophone: (2)

5.4 

Mark THREE items in COLUMN A that is related to Track 18. Make a  cross (X) in THREE appropriate blocks.  

(3) 
(16 ÷ 2) [8] 

OR

QUESTION 6: IAM 
6.1 

6.1.1 Identify the type of African song associated with this extract. Make a cross (X) in the appropriate block. (1)

6.1.2 Identify ONE vocal technique used in this extract. (1) 
6.1.3 Which voice group performs this song? (1) 

6.2 

6.2.1 Identify the South African style. (1) 

6.2.2 Describe the instrumentation used in this extract. (2) 
6.2.3 Identify the group performing in this extract. (1)

6.3 

6.3.1 Name and define the style that you hear in this extract. (2) 
6.3.2 With which African tribe do you associate this music? 
Make a cross (X) in the appropriate block. (1)

6.3.3 Identify ONE prominent chordophone instrument used in this extract. (1) 
6.3.4 Why is this South African style so closely related to Blues? (2) 

6.4 

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

(3) 
(16 ÷ 2) [8] 

TOTAL SECTION B: 12

SECTION C : FORM
QUESTION 7 (COMPULSORY) 
Read and study the questions for ONE minute.

7.1 Name the overall form of this work. (1) 
7.2 Give an analysis of the form of the Minuet. (9 ÷ 3) (3)
Minuet:  

7.3 Give an analysis of the form of the Trio. (9 ÷ 3) (3) 
Trio: 

7.4 How is the key of the Trio related to the key of the Minuet? (1) 

 TOTAL SECTION C: 8
GRAND TOTAL: 30

ROUGH WORK:

HISTORY
PAPER ONE (P1)
GRADE 12
NSC PAST PAPERS AND MEMOS
SEPTEMBER 2016

ADDENDUM

SECTION A: SOURCE-BASED QUESTIONS 
QUESTION 1: HOW DID THE BERLIN CRISIS INTENSIFY THE COLD WAR  TENSIONS BETWEEN THE UNITED STATES OF AMERICA AND THE SOVIET UNION IN THE 1960s? 
SOURCE 1A 
This source explains the reasons why the Soviet Union decided to build a wall to  separate East Berlin from West Berlin. 

SOURCE 1B 
This source explains how the actual construction of the Berlin Wall increased tensions between the United States of America and the Soviet Union. 

SOURCE 1C 
This visual source depicts children playing on top of the Berlin Wall in the West Berlin  district of Kreuzberg in March 1972. 

SOURCE 1D 
This is an extract from a speech by President Kennedy of the United States of America.  He responded to the building of the Berlin Wall in 1961 at the Rudolph Wilde Platz in Berlin. 

QUESTION 2: WHAT IMPACT DID THE INVOLVEMENT OF FOREIGN POWERS  HAVE ON THE ANGOLAN CIVIL WAR? 
SOURCE 2A 
This source outlines the involvement of foreign countries in the Angolan conflict. 

SOURCE 2B 
The extract below explains the reasons for the involvement of the United States of  America in the Angolan conflict. It focuses on the USA’s attempts to recover from the  embarrassment of Vietnam. 

SOURCE 2C 
This source compares two schools of thought, a Cuban and South African viewpoint on  the Battle of Cuito Cuanavale. 

SOURCE 2D 
This photograph shows the South African Defence Force recruits making their weapons  safe before entering the base at Ruacana in 1988 during the Battle of Cuito Cuanavale.  It is adapted from a newspaper article, The Mother of Liberation Battles. 

QUESTION 3: HOW SUCCESSFUL WAS THE DESEGREGATION OF CENTRAL  HIGH SCHOOL IN LITTLE ROCK, ARKANSAS, IN 1957? 
SOURCE 3A 
The source below is an extract taken from notes by President Dwight Eisenhower on 8  October 1957 after his meeting with Governor Faubus. It focuses on the visit of  Governor Faubus of Arkansas to Little Rock on 14 September 1957. The meeting took  place in Newport. 

SOURCE 3B 
This is a statement by the Governor of Arkansas, Orval Faubus, after his meeting with President Dwight Eisenhower in September 1957. It outlines the incident at Central  High School in Little Rock, Arkansas.  

SOURCE 3C 
This extract describes the hardships that the African American students, who attended  the ‘all-white’ Central High School. It also focuses on how their families were harassed. 

SOURCE 3D 

This photograph shows some African and White American students interacting at Central  High School in 1957. 

ACKNOWLEDGEMENTS 
Visual sources and other historical evidence were taken from the following:  

• Appiah, KA and Gates, HL Jr (Editors), Africana: The Encyclopaedia of African and  African American Experience (Oxford University Press)
• Bottaro J et al, 2013, In Search of History (Oxford University Press)
• Kasrils R, “The Mother of Liberation Battles”Sunday Independent, March 24, 2013 www.berlin.de/mauer/geschichte/index.en.htm
• www.germany.info/Vertretung/usa/en/02-GIC
• www.germany.infor/Vertreting/usa/en/02-GIC
• www.history.com/black-history/central-high-school-integration
• www.history.com/topics/cold-war/berlin-wall 
• www.sahistory.org.za/tops/battle-cuito-cuanavale
• www.mhunt.weebly.com
• www.nps.gov/history/nr/twhp/wwwlps/lessons
• www.ourdocuments.gov

HISTORY
PAPER TWO (P2)
GRADE 12
NSC PAST PAPERS AND MEMOS
SEPTEMBER 2016

ADDENDUM

QUESTION 1: WHAT IMPACT DID THE PHILOSOPHY OF BLACK  CONSCIOUSNESS (BC) HAVE ON SOUTH AFRICAN STUDENTS IN  THE 1970s? 
SOURCE 1A 
This extract focuses on the influence that the philosophy of Black Consciousness have on  the Soweto Uprising of 1976. It was written in 1978 by John Kane-Berman, who was a  member of the SRC at the University of the Witwatersrand. 

SOURCE 1B 
The following is an extract of Steve Biko’s comments on the role the philosophy of Black  Consciousness played in the Soweto uprising.

SOURCE 1C 
This photograph shows students marching in Soweto on 16 June 1976.

SOURCE 1D 
This is an excerpt from an address by President Nelson Mandela at the commemoration  of the twentieth anniversary of Steve Biko’s death in East London on 12 September  1997.

QUESTION 2: HOW DID THE TRUTH AND RECONCILIATION COMMISSION (TRC)  DEAL WITH THE PAST? 
SOURCE 2A 
This source is taken from an address by the former President of South Africa, Thabo  Mbeki. It was held on the 10th Anniversary of the TRC at Freedom Park, Tshwane.

SOURCE 2B 
This photograph depicts Joyce Mtimkulu, the mother of Siphiwo Mtimkulu. She kept a piece  of Siphiwo’s hair for more than 20 years.

SOURCE 2C 
The following is an extract from a newspaper article from the Daily Despatch (a newspaper  in the East Cape known for its anti-apartheid views). It was written at the time of amnesty  hearings of the security policemen implicated in Siphiwo’s murder.

SOURCE 2D 
In Graeme Simpson’s article, Tell No Lies, Claim No Easy Victories: A brief evaluation of  South Africa’s Truth and Reconciliation Commission, he speaks about two people who  testified before the TRC.

QUESTION 3: WHAT WAS THE IMPACT OF GLOBALISATION ON THE LIVES OF  ORDINARY PEOPLE IN THE NEW WORLD ORDER? 
SOURCE 3A 
This source explains the benefits of globalisation through trade which was a way for  countries to exchange goods and resources.

SOURCE 3B 
This photograph shows a demonstration held in November 2006 against the IMF and the  World Bank.

SOURCE 3C 
The source outlines the impact of globalisation of countries around the world. It explains  the relationship between the IMF, World Bank and the WTO, and how they affect the  economies of the countries around the world. 

SOURCE 3D 
This source highlights the living conditions in Mumbai, India. It was published in July, 2011.

ACKOWLEDGEMENTS 

• Brink, E et al 2012 Solutions for all History Grade 12 Macmillan SA
• Daily Dispatch 25 September 1995
• Dlamini N et al 2007 Shuter’s History. Shuter & Shooter Publishers LTD
• Edelstein, J 2005 Truth and Lies: Stories from the Truth and Reconciliation Commission in South  Africa 
• http://1123.photobucket.com/albums/o319/vegan0wer/S2010133.ipg&ipg&imgrefurl
• http://www.csvr.org.za/wits/articles/artcyal.htm 
• http://www.edu-mthong/benefitsofglobalisation.htm#The Benefits of Globalisation 
• http://www.toonpool.com/cartoons/Globalisation_30593#img9 
• http://yaleglobal.yale.edu/content/globalization-you-cant-stop-life 
• Kane-Berman, 1978.Soweto Black Revolt, White Reaction
• Steve Biko Memorial Lectures 2000-2008. 2009,Macmillan SA
• www.anc.org.za/show.phd?id=3148
• www.dfa.gov.za/docs/speeches/2005/mbeki1216.htm
• www.poverties.org/poverty-in India.html

HISTORY
PAPER TWO (P2)
GRADE 12
NSC PAST PAPERS AND MEMOS
SEPTEMBER 2016

INSTRUCTIONS AND INFORMATION TO CANDIDATES 

1. The question paper consist of SECTION A and SECTION B based on  prescribed content framework in the CAPS document:
   SECTION A: SOURCE-BASED QUESTIONS
   QUESTION 1: CIVIL RESISTANCE, 1970s TO 1980s: SOUTH AFRICA
   QUESTION 2: THE COMING OF DEMOCRACY TO SOUTH AFRICA  AND COMING TO TERMS WITH THE PAST
   QUESTION 3: THE END OF THE COLD WAR AND A NEW WORLD  ORDER, 1989 TO THE PRESENT
   SECTION B: ESSAY QUESTIONS
   QUESTION 4: CIVIL RESISTANCE, 1970s TO 1980s: SOUTH AFRICA:  THE CRISIS OF APARTHEID IN THE 1980s
   QUESTION 5: THE COMING OF DEMOCRACY TO SOUTH AFRICA  AND COMING TO TERMS WITH THE PAST
   QUESTION 6: THE END OF THE COLD WAR AND A NEW WORLD  ORDER: THE EVENTS OF 1989
2. SECTION A consists of THREE source-based questions. Source material  that is required to answer these questions can be found in the  ADDENDUM.
3. SECTION B consists of THREE essay questions. 
4. Answer THREE questions as follows:
   4.1 At least ONE must be a source-based question and at least one must  be an ESSAY question.
   4.2 The THIRD question can be either a source-based or an essay  question. 
5. You are advised to spend at least ONE hour per question. 
6. Candidates should apply their knowledge, skills and insight.
7. Number the answers correctly according to the numbering system used in  this question paper. 
8. A mere rewriting of the sources as answers will disadvantage candidates.
9. Write neatly and legibly.

QUESTIONS

SECTION A: SOURCE-BASED QUESTIONS 
Answer at least ONE question, but not more than TWO questions, in this section.  Source material that is required to answer these questions can be found in the  ADDENDUM.
QUESTION 1: WHAT IMPACT DID THE PHILOSOPHY OF BLACK  CONSCIOUSNESS (BC) HAVE ON SOUTH AFRICAN  STUDENTS IN THE 1970s? 
Study Sources 1A, 1B, 1C and 1D to answer the following questions.
1.1 Refer to Source 1A.

1.1.1 Define the term Black Consciousness in your own words. (1 x 2) (2) 
1.1.2 According to the source, list TWO organisations that promoted the  philosophy of Black Consciousness among black South African  students. (2 x 1) (2) 
1.1.3 Why do you think more than 100 to 180 pupils boycotted an  examination on a book called Swart Pelgrim by FA Venter? (1 x 2) (2) 
1.1.4 Using the information in the source as well as your own  knowledge, explain how the philosophy of Black Consciousness  influenced African and Coloured school children in the Cape in  1976. (2 x 2) (4) 
1.1.5 Explain the usefulness of this source to a historian studying the  impact of SASM on African and Coloured students in the Cape in  1976. (2 x 2) (4)

1.2 Study Source 1B. 

1.2.1 Quote FOUR pieces of evidence from the source that indicate that  the youth of Soweto was influenced by the ideas of Black  Consciousness. (4 x 1) (4) 
1.2.2 Use the source and your own knowledge to explain the bread and  butter issues that faced the people of Soweto. (2 x 2) (4) 

1.3 Consult Source 1C. 

1.3.1 According to the visual source, why did the students of Soweto  embark on the protest action? (1 x 2) (2) 
1.3.2 What, do you think, was the intention of the photographer in  publishing this photo? (1 x 2) (2) 
1.3.3 Explain the reliability of this photograph to historians studying the  causes of the Soweto Uprising. (2 x 2 ) (4)

1.4 Read Source 1D. 

1.4.1 Using the information in the source and your own knowledge,  explain what Biko implied by wanting to give South Africa a ‘more  humane face’. (2 x 2) (4) 
1.4.2 Explain why the apartheid government attempted to prevent Biko’s  influence as a political leader. (2 x 2) (4) 
1.4.3 What was Biko’s greatest legacy that he waged during the  struggle? (1 x 2) (2) 
1.4.4 According to the source, what did the government do to honour  Biko’s life? (2 x 1) (2) 

1.5 Using the information in the relevant sources and your own knowledge,  write a paragraph of about EIGHT lines (80 words) to explain the impact  that the philosophy of Black Consciousness had on South African students  in the 1970s. (8)

[50]

QUESTION 2: HOW DID THE TRUTH AND RECONCILIATION COMMISSION  (TRC) DEAL WITH THE PAST? 
Study Sources 2A, 2B, 2C and 2D to answer the following questions.
2.1 Refer to Source 2A. 

2.1.1 Quote TWO difficulties that the TRC had to go through during the hearings. (2 x 1) (2) 
2.1.2 Why, according to the source, were the perpetrators willing to ask  for forgiveness? (1 x 1) (1) 
2.1.3 Using your own knowledge, comment on the relevance of the  statement ‘our people are well endowed with the spirit of Ubuntu’. (2 x 2) (4) 
2.1.4 What do you understand by the concept ‘reparations’ in the context  of the TRC? (1 x 2) (2) 

2.2 Consult Source 2B.  

2.2.1 Use the source and your own knowledge to explain why  Mrs Mtimkulu appeared before the TRC. (2 x 2) (4) 
2.2.2 Why, do you think, Mrs Mtimkulu kept the human hair for 20 years? (1 x 2) (2) 

2.3 Read Source 2C. 

2.3.1 According to the source, how did Siphiwo Mtimkulu die? (1 x 1) (1) 
2.3.2 Identify the TWO security policemen involved in the killings of  Siphiwo Mtimkulu. (2 x 1) (2) 
2.3.3 Explain why you think Gen. Van Rensburg blatantly lied to the  Harms Commission. (2 x 2) (4) 
2.3.4 Identify evidence in the source to show that the apartheid  government killed Mr Mtimkulu. (1 x 2) (2) 
2.3.5 Using the source and your own knowledge, explain what is meant  by the statement ‘her hair turned snow white since her last  appearance’. (2 x 2) (4) 

2.4 How does Source 2A support Source 2C with regard to the aims of the  TRC? (2 x 2) (4)
2.5 Study Source 2D. 

2.5.1 Indicate the way in which Bheki Mlangeni was killed. (1 x 2) (2) 
2.5.2 According to the source, what is meant by Mrs Mlangeni’s  statement ‘… as we are dead now’? (1 x 2) (2) 
2.5.3 Quote evidence from the source that suggest that Mr Sithole  expected some sort of compensation from the ANC government. (1 x 2) (2) 
2.5.4 Explain the usefulness of this source to a historian studying the  TRC. (2 x 2) (4) 

2.6 Using the information in the relevant sources and your own knowledge,  write a paragraph of about EIGHT lines (80 words) explaining how the  Truth and Reconciliation Commission (TRC) was able to deal with the  past. (8)

[50]

QUESTION 3: WHAT WAS THE IMPACT OF GLOBALISATION ON THE  LIVES OF ORDINARY PEOPLE IN THE NEW WORLD  ORDER? 
Study Sources 3A, 3B, 3C and 3D to answer the following questions.
3.1 Read Source 3A. 

3.1.1 Define the concept globalisation in your own words. (1 x 2) (2) 
3.1.2 Identify any THREE benefits of globalisation as defined by  international trade. (3 x 1) (3) 
3.1.3 Use the information from the source and your own knowledge to  explain the usefulness of this source to a historian studying  international trade. (2 x 2) (4) 
3.1.4 According to the source, explain why ‘there is big gap between the  rich and poor’. (2 x 2) (4) 

3.2 Consult Source 3B.  

3.2.1 Use the source and your own knowledge to explain the role the  IMF and World Bank played in the context of globalisation. (2 x 2) (4) 
3.2.2 Explain what is implied by the slogan on the poster  
‘GO TO HELL WITH YOUR AID’. (2 x 2) (4)

3.3 Study Source 3C. 

3.3.1 List the THREE organisations that work together in an iron triangle  plan to carry out the corporate plan of free trade. (3 x 1) (3) 
3.3.2 What, according to the source was the work of the iron triangle? (2 x 1) (2) 
3.3.3 Explain how the poor countries were forced to pay off their loans to  the IMF and WTO. (2 x 2) (4) 
3.3.4 What conclusion can you draw from the countries paying more  attention to exporting food than growing food for local  consumption? (1 x 2) (2) 
3.3.5 According to the source, why was protection sacrificed for the  indigenous people, workers and environment? (1 x 2) (2) 

3.4 Use Source 3D. 

3.4.1 According to the source, identify TWO negative results of  globalisation. Use the visual clues from the source to support your  answer. (2 x 1) (2) 
3.4.2 Why, do you think, globalisation has brought poverty and inequality  to poor countries? (1 x 2) (2) 

3.5 Refer to Sources 3C and 3D. Comment on how these sources support  each other regarding the impact of globalisation on ordinary people. (2 x 2) (4) 
3.6 Using the information in the relevant sources and your own knowledge,  write a paragraph of about EIGHT lines (80 words) in which you discuss  the impact of globalisation on the lives of ordinary people in the New World  Order. (8)

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SECTION B: ESSAY QUESTIONS 
Answer at least ONE question, but not more than TWO questions in this section.
Your essay should be at least THREE pages in length. 
QUESTION 4: CIVIL RESISTANCE, 1970s TO 1980s: SOUTH AFRICA: THE  CRISIS OF APARTHEID IN THE 1980s 
In 1980, PW Botha stated, ‘the strategic position of South Africa has changed  with regard to apartheid. We must adapt or die.’ 
Explain to what extent Botha’s adaptation of the apartheid policy was challenged  by the internal resistance movements in the 1980s.

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QUESTION 5: THE COMING OF DEMOCRACY TO SOUTH AFRICA AND  COMING TO TERMS WITH THE PAST 
‘Together the various stakeholders played a significant role in ensuring that South  Africa became a non-racial democratic country in 1994.’ 
Do you agree with the statement? Use relevant evidence to support your line of  argument.

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QUESTION 6: THE END OF THE COLD WAR AND A NEW WORLD ORDER:  THE EVENTS OF 1989 
‘The collapse of the USSR affected South Africa’s future positively.’ 
Critically evaluate the statement by using relevant historical evidence to support  your line of argument.

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TOTAL: 150

HISTORY
PAPER ONE (P1)
GRADE 12
NSC PAST PAPERS AND MEMOS
SEPTEMBER 2016

INSTRUCTIONS AND INFORMATION 

1. This question paper consists of SECTION A and SECTION B based on the  prescribed content framework in the CAPS document.

SECTION A: SOURCE-BASED QUESTIONS

QUESTION 1: THE COLD WAR: THE ORIGINS OF THE COLD WAR
QUESTION 2: INDEPENDENT AFRICA: CASE STUDY – ANGOLA
QUESTION 3: CIVIL SOCIETY PROTESTS FROM THE 1950s TO THE  1970s – CIVIL RIGHTS MOVEMENT 

SECTION B: ESSAY QUESTIONS 

QUESTION 4: EXTENSION OF THE COLD WAR: CASE STUDY – VIETNAM 
QUESTION 5: INDEPENDENT AFRICA: COMPARATIVE CASE STUDY – THE CONGO AND TANZANIA 
QUESTION 6: CIVIL SOCIETY PROTESTS FROM THE 1950s TO THE  1970s: THE BLACK POWER MOVEMENT 

2. SECTION A consists of THREE source-based questions. Source material that  is required to answer these questions will be found in the ADDENDUM. 
3. SECTION B consists of THREE essay questions.
4. Answer THREE questions as follows: 

4.1 At least ONE (1) must be a source-based question and at least ONE  (1) must be an essay question. 
4.2 The THIRD question can either be a source-based question or an  essay question. 

5. Candidates are advised to spend about an hour on each question. 
6. When candidates answer questions, they are required to demonstrate  application of knowledge, skills and insight.
7. Merely rewriting of the sources as answers will be to the disadvantage of  candidates.
8. Questions and subsections of questions must be numbered clearly and  correctly using the same numbering system used in the question paper.
9. Write neatly and legibly.

QUESTIONS

SECTION A: SOURCE-BASED QUESTIONS 
Answer at least ONE question, but not more than TWO questions from this section. Source material to be used to answer these questions is contained in the  ADDENDUM. 
QUESTION 1: HOW DID THE BERLIN CRISIS INTENSIFY THE COLD WAR  TENSIONS BETWEEN THE UNITED STATES OF AMERICA AND THE SOVIET UNION IN THE 1960s? 
Study Sources 1A, 1B, 1C and 1D and answer the questions that follow.
1.1 Study Source 1A. 

1.1.1 Define the concept capitalism in your own words. (1 x 2) (2) 
1.1.2 What, according to the source, was the main aim of the Soviet Union in West Berlin? (1 x 2) (2) 
1.1.3 Quote evidence from the source which indicate how the Western powers responded to the Berlin Blockade. (1 x 2) (2) 
1.1.4 Using the source and your own knowledge, explain why the Soviet  Union was forced to call off the Berlin Blockade in 1949. (2 x 2) (4) 
1.1.5 Explain why you think the loss of skilled personnel to West Berlin  was such a serious risk for East Berlin and East Germany (GDR).   (2 x 2) (4)

1.2 Refer to Source 1B. 

1.2.1 Mention THREE activities from the source to prove that the actual  construction of the Berlin Wall did take place. (3 x 1) (3) 
1.2.2 Explain in what ways the American and Soviet tanks that confronted each other at the Friedrichstrasse border crossing proved a risk to  the Cold War. (2 x 2) (4) 
1.2.3 How, according to the source, was the possible confrontation  between the United States of America and Soviet forces avoided?   (1 x 2) (2) 

1.3 How does the evidence in Source 1B support Source 1A regarding the  Soviet Union’s desire to control West Berlin? (2 x 2) (4)
1.4 Use Source 1C. 

1.4.1 Explain what you think was implied by the words: ‘Unity and  Freedom for Berlin’ in the context of the Cold War. (2 x 2) (4) 
1.4.2 Using visual clues in the photograph, explain how the Berlin Wall  influenced the lives of ordinary citizens in Berlin. (2 x 2) (4) 

1.5 Consult Source 1D. 

1.5.1 According to President Kennedy, mention THREE reasons why it  was necessary for the USA to support Berlin. (3 x 1) (3) 
1.5.2 Explain whether the information in this source would be useful to a  historian in understanding Kennedy’s commitment to prevent a  communist takeover of Berlin. (2 x 2) (4) 

1.6 Using the information in the relevant sources and your own knowledge, write  a paragraph of about EIGHT lines (about 80 words) explaining how the  Berlin Crisis intensified Cold War tensions between the United States of  America and the Soviet Union in the 1960s. (8)

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QUESTION 2: WHAT IMPACT DID THE INVOLVEMENT OF FOREIGN  POWERS HAVE ON THE ANGOLAN CIVIL WAR? 
Study Sources 2A, 2B, 2C and 2D and answer the questions that follow.
2.1 Refer to Source 2A. 

2.1.1 Mention TWO foreign countries from the source that were involved in  the Angolan conflict. (2 x 1) (2) 
2.1.2 Why, according to the source, did UNITA suddenly become a strong  fighting force? (1 x 2) (2) 
2.1.3 Define the concept nationalisation in your own words. (1 x 2) (2) 
2.1.4 Why, in your opinion, did Neto and Dos Santos allow private  ownership and co-operation with Western companies? (2 x 2) (4) 
2.1.5 Comment on whether the evidence in the source would be useful to a  historian in understanding the reasons why the conflict in Angola  started. (2 x 2) (4)

2.2 Study Source 2B. 

2.2.1 Give THREE reasons from the source for the USA’s involvement in the  Angolan civil war. (3 x 1) (3) 
2.2.2 What, according to the source, was the effect of the USA’s  involvement in the Angolan civil war? (1 x 1) (1) 
2.2.3 Explain why you think the USA went out of its way to prevent a  communist government from coming to power in Angola. (2 x 2) (4) 

2.3 Use Source 2C. 

2.3.1 Give TWO reasons from the source as to why South Africa assisted UNITA during the Angolan conflict. (2 x 1) (2) 
2.3.2 Quote evidence from the source which suggests that many UNITA  soldiers died during the battle. (1 x 1) (1) 
2.3.3 Comment on how the information contained in the two schools of  thought in the source differs, regarding the outcome of the Battle of  Cuito Cuanavale. (2 x 2) (4)
2.3.4 Why do you think the SADF provided statistical evidence regarding the  Battle of Cuito Cuanavale? (2 x 2) (4)

2.4 Consult Source 2D. 

2.4.1 Which country became independent after the SADF was defeated at the Battle of Cuito Cuanavale? (1 x 1) (1) 
2.4.2 Explain why, in your opinion, the title: The Mother of Liberation Battles was suitable for this article. (2 x 2) (4) 
2.4.3 Explain what messages the photograph conveys about the SADF’s  participation in the Angolan war. Use the visual clues in the source and your own knowledge to support your answer. (2 x 2) (4) 

2.5 Using the information in the relevant sources and your own knowledge, write a  paragraph of about EIGHT lines (about 80 words) explaining the impact the  involvement of foreign powers had on the Angolan civil war. (8)

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QUESTION 3: HOW SUCCESSFUL WAS THE DESEGREGATION OF  SCHOOLS IN LITTLE ROCK, ARKANSAS, DURING THE  1950s? 
Study Sources 3A, 3B, 3C and 3D and answer the questions that follow.
3.1 Refer to Source 3A. 

3.1.1 Quote THREE reasons from the source why Governor Faubus could  be regarded as a good citizen. (3 x 1) (3) 
3.1.2 What, according to the source, were the TWO instructions given to  Faubus by President Eisenhower during their meeting? (2 x 1) (2) 
3.1.3 Using the source and your own knowledge explain why there was a  need for a meeting between Faubus and Eisenhower. (2 x 2) (4) 
3.1.4 Why, according to the source, did Eisenhower try to discourage  Faubus from taking the Little Rock Nine issue to court? (1 x 2) (2) 
3.1.5 Comment on whether Eisenhower was justified in instructing Faubus  to change the orders that he gave to the National Guard, regarding the events at Central High School. (2 x 2) (4)

3.2 Read Source 3B. 

3.2.1 Define the concept integration, in the context of the Little Rock Nine  incident. (1 x 2) (2) 
3.2.2 In the source Faubus states, ‘That decision is the law of the land and  must be obeyed.’ Explain whether you would regard this statement to  be in line with the Little Rock Nine incident. (2 x 2) (4) 
3.2.3 Using the source and your own knowledge, explain the messages that Faubus is trying to communicate to the public. (2 x 2) (4) 

3.3 Explain how the information in Source 3B and Source 3A differs regarding the  commitments that Faubus made to President Eisenhower. (2 x 2) (4) 
3.4 Use Source 3C. 

3.4.1 Explain what was implied by the statement: “It was like going to war  every day”. (2 x 2) (4) 
3.4.2 Mention THREE ways in which African American students were treated at the school. (3 x 1) (3) 
3.4.3 The reaction of conservative white Americans had a negative effect  on the African American community of Little Rock. Quote TWO  pieces of evidence from the source to support this statement. (2 x 1) (2)

3.5 Consider Source 3D. 

3.5.1 Use a visual clue in the source to explain that integration took place at  Central High School. (1 x 2) (2) 
3.5.2 What does the presence of uniformed personnel in the source, suggest about the situation at Central High School? (1 x 2) (2) 

3.6 Using the information in the relevant sources and your own knowledge, write  a paragraph of about EIGHT lines (about 80 words) explaining the success of the desegregation of schools in Little Rock, Arkansas, during the 1950s. (8)

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SECTION B: ESSAY QUESTIONS 
Answer at least ONE question, but not more than TWO questions from this section.
QUESTION 4: EXTENSION OF THE COLD WAR: CASE STUDY – VIETNAM 
The United States of America was successful in preventing the communist  takeover of Vietnam between 1962 and 1974. 
Do you agree with the above statement? Support your answer with reference to  the United States of America’s involvement in the war.

[50] 

QUESTION 5: INDEPENDENT AFRICA: COMPARATIVE CASE STUDY –  THE CONGO AND TANZANIA 
Evaluate the successes of Tanzania’s and the Congo’s economic development  programmes after independence.

[50] 

QUESTION 6: CIVIL SOCIETY PROTESTS IN THE 1950s TO THE 1960s: THE  BLACK POWER MOVEMENT 
The relatively slow pace of success and the philosophy of non-violence did not find  universal support among the young and militant sections of the African American  community. 
Critically discuss this statement with reference to how the emergence of the Black  Power Movement, presented an alternative to the philosophy of the Civil Rights  Movement.

[50] 
TOTAL: 150