MUSIC P2
FEBRUARY/MARCH 2016
MEMORANDUM

MARKS: 30

TIME: 1½ hours

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. Candidates may remove this page.
8. Candidates may NOT have access to any musical instrument for the duration of this examination.
9. Write neatly and legibly.

SECTION A: AURAL

QUESTION 1

1.1
Listen to the melodic and rhythmic phrase. Notate the rhythm of the missing notes in bars 3–41 below. (3)

1.2
Listen to the extract from Menuet in G by Mozart. Fill in the missing pitches that correspond with the music that you hear on the given score.

(3)
[6]

QUESTION 2

Listen to the extract from Think of Me (Phantom of the Opera) while you follow the vocal score. Answer the questions that follow.

2.1 Name the interval at 2.1 (in the vocal part) in bar 3, e.g. Major 2nd.

Answer
Perfect octave/8^th

(1)

2.2 Name the cadence at 2.2 in bars 7 and 8. (1)

Answer
Imperfect (cadence)

2.3
This extract starts in bar 9. At 2.3 in bar 11 you will hear a non-chordal note in the vocal line.

2.3.1 Notate this note on the score. (1)

Answer:
The note E

2.3.2 Name the type of non-chordal note. (1)

Answer:
Suspension

[4]
TOTAL SECTION A: 10

SECTION B: RECOGNITION OF MUSIC CONCEPTS

QUESTION 3: GENERAL LISTENING (COMPULSORY)

Study the items in COLUMN A in QUESTION 3.1–3.4 for two minutes.

3.1
Mark TWO items in COLUMN A that relate to Track 7. Make a cross (X) in TWO appropriate blocks.

(2)

3.2
Mark TWO items in COLUMN A that relate to Track 8. Make a cross (X) in TWO appropriate blocks.

(2)

3.3
Mark TWO items in COLUMN A that relate to Track 9. Make a cross (X) in TWO appropriate blocks.

(2)

3.4
Mark TWO items in COLUMN A that relate to Track 10. Make a cross (X) in TWO appropriate blocks.

(2)
(8 ÷ 2) [4]

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

QUESTION 4: WAM

4.1
Listen to the extracts and answer the questions that follow.

4.1.1
Identify the composer and title of this work.

Answer:
Composer: (Felix) Mendelssohn
Title: Hebrides Overture or Fingal's Cave

(2)

4.1.2
Which melodic compositional technique is heard in the violas and bassoons at the beginning of this extract? (1)

Answer:

• Sequence
• Repetition

4.1.3
Which ONE of the following terms best describes the melodic material of the strings and flutes in this extract? Make a cross (X) in the appropriate block.

Answer:
Chromatic

(1)

4.1.4
Give a suitable Italian term to describe the dynamic level of the melodic line in this extract. (1)

Answer:

• Fortissimo (ff)
• Forte (f)
• Crescendo

4.2 Listen to the extracts and answer the questions that follow.

4.2.1 Identify the genre of this music. (1)

Answer:

• Opera
• Duet

4.2.2 Name the characters who sing in this extract. (2)

Answer:

• Papageno
• Papagena

4.2.3 Write down a suitable Italian term to describe the change of tempo towards the end of this extract. (1)

Answer:

• Ritardando
• Ritenuto
• Allargando

4.2.4
Choose the word that best describes the articulation applied in the accompaniment of this extract. Make a cross (X) in the appropriate block.

Answer:
Staccato

(1)

4.3
Listen to TWO extracts from Beethoven's Symphony No. 6 which will be played twice each and answer the questions.

4.3.1
This extract begins with a solo woodwind instrument which is followed by a solo brass instrument. Name each of these instruments.

Answer:
Woodwind instrument: Clarinet
Brass instrument: Horn (French Horn)

(2)

4.3.2 Identify the movement from which this extract is taken. (1)

Answer:
Fifth movement

4.3.3 Identify the movement from which this extract is taken. (1)

Answer:
First movement

4.3.4
Choose the time signature of this extract. Make a cross (X) in the appropriate block. (1)

4.3.5
Mark the character or mood of this extract in COLUMN A. Make a cross (X) in the appropriate block.

Answer:
Maestoso

(1)
(16 ÷ 2) [8]

TOTAL SECTION B: 12

OR

QUESTION 5: JAZZ

5.1 Listen to the extracts and answer the questions that follow.

5.1.1
With which ONE of the following terms would you associate this extract? Make a cross (X) in the appropriate block.

Answer:
Jazz in exile

(1)

5.1.2 Write down the title of this work. (1)

Answer:
Mra

5.1.3 Name TWO artists associated with this extract.(2)

Answer:

• Chris McGregor
• Louis Moholo
• Dudu Pukwana
• Mongezi Feza

5.1.4 A repetitive rhythmic drive is heard in this extract. Which instrument(s) are heard in this regard? Make a cross (X) in the appropriate block.

Answer:
Cymbals, bass and piano

(1)

5.2 Listen to the extracts and answer the questions that follow.

5.2.1 Identify the South African jazz style. (1)

Answer:
Kwela
Penny-whistle Jive

5.2.2 Give TWO reasons for your answer to QUESTION 5.2.1. (2)

Answer:

• Prominent melodic instrument (usually the penny whistle or saxophone or both)
• Township jive rhythm
• Skiffle-like beat

5.2.3 Name ONE artist associated with this extract. (1)

Answer:

• Elias Lerole
• Lemmy Mabaso
• Spokes Mashiyane

5.2.4 Name the title of the work. (1)

Answer:

• See You Later, Little Lemmy

5.3 Listen to the extracts and answer the questions that follow.

5.3.1 Identify the South African jazz style. (1)

Answer:

• Mbaqanga
• Afro-soul

5.3.2 Give TWO reasons for your answer to QUESTION 5.3.1. (2)

Answer:

• Continuous repetition of music material above a rhythmic ostinato
• A mix of Western instrumentation and South African vocal style
• Cyclic chord structure – similar to marabi
• Instrumental approach (bass and keyboards) particular to Mbaqanga
• Call and response

5.3.3 Name the female vocalist associated with this extract. (1)

Answer:

• Miriam Makeba

5.3.4 Describe how the call-and-response technique is used in this extract.

Answer:
The lead singer initiates the vocal material (call) and the backing vocalists respond with new vocal material

(1)

5.3.5
With which of the following items do you associate this extract? Make a cross (X) in the appropriate block.

Answer:
Riff

(1)
(16 ÷ 2) [8]
TOTAL SECTION B:

OR

QUESTION 6: IAM

6.1 Listen to the extracts and answer the questions that follow.

6.1.1 Identify the South African style. Make a cross (X) in the appropriate block.

(1)

6.1.2 Give TWO reasons for your answer to QUESTION 6.1.1. (2)

Answer:

• The continuous repetition of musical material over an ostinato rhythm
• Use of repetitive guitar melodic riffs
• Interweaving of the 2 guitar lines

6.1.3 Name the artist/group with whom you associate this song. (1)

Answer:
Mahotella Queens or any female Mbaqanga group

6.2 Listen to the extracts and answer the questions that follow.

6.2.1 With which type of song do you associate the extract? Make a cross (X) in the appropriate block.

Answer:
Struggle song

 (1)

6.2.2 With which type of song do you associate the extract? Make a cross (X) in the appropriate block.

Answer:
Lullaby

(1)

6.2.3 Listen to the TWO tracks which will be played TWICE in succession.

Complete the table below. Identify the voice type, compositional technique and percussion instrument used in each track.

(3)

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

6.3.1 Identify the chordophone that you hear in the introduction of this extract. (1)

Answer:

• Lesiba
• Ugwala
• Makwindi

6.3.2 Name the voice type of the solo singer who introduces the melody. (1)

Answer:
Tenor

6.3.3
Identify the vocal compositional technique used in this extract. Make a cross (X) in the appropriate block.

Answer:
Call and Response

(1)

6.4 Listen to the extracts and answer the questions that follow.

Identify TWO instruments in each of the extracts.

(4)
(16 ÷ 2)[8]
TOTAL SECTION D:12

SECTION C: FORM

QUESTION 7

Read and study the questions for ONE minute.

Listen to the following piece while you study the score.

7.1 Name the overall form of this work. (1)

Answer:
Ternary form
ABA form

7.2
Motivate your answer to QUESTION 7.1 by indicating the main sections on the score. Write capital letters above the staff. (3)

Answer

7.3 Name the main key of the work in bars 1–16. (1)

Answer:
E minor

7.4 To which key does the work modulate (change key) in bar 17? (1)

Answer:
E major/Tonic major

7.5 Which compositional technique is used in the bass part from in 1–5? (1)

Answer:

• Pedal point
• Repetition of the bass note
• Sustaining of the root note of the triad

7.6 This track starts in bar 27. Name the cadence in bars 30–32. (1)

Answer:

Perfect (cadence)

[8]
TOTAL SECTION C: 8
GRAND TOTAL: 30