MUSIC
PAPER 1
GRADE 12 
AMENDED SENIOR CERTIFICATE EXAMS
PAST PAPERS AND MEMOS
MAY/JUNE 2018

INSTRUCTIONS AND INFORMATION 

1. This question paper consists of FIVE sections, namely SECTIONS A, B, C, D  and E. 
2. SECTIONS A and B are COMPULSORY. 
3. SECTION C: WESTERN ART MUSIC (WAM), SECTION D: JAZZ and  SECTION E: INDIGENOUS AFRICAN MUSIC (IAM) are choice questions.  Answer only ONE of these sections (SECTION C or D or E). 
4. Write all music notations in SECTION A in pencil and all written text in blue or  black ink on this question paper. 
5. Answer SECTION B and SECTION C or D or E in blue or black ink in the  ANSWER BOOK provided. 
6. Number the answers correctly according to the numbering system used in this  question paper. 
7. The last page of this question paper is manuscript paper intended for rough  work. Candidates may remove this page. 
8. Candidates may NOT have access to any musical instrument for the duration  of this examination. 
9. Candidates must take note of the mark allocation for each question to provide  enough information in their answers.
10. Write neatly and legibly.

MARKING GRID 

AND 

AND  

OR 

OR 

QUESTIONS 

SECTION A: THEORY OF MUSIC (COMPULSORY) (90 minutes) 
Answer QUESTION 1  
AND QUESTION 2.1 OR 2.2  
AND QUESTION 3.1 OR 3.2  
AND QUESTION 4.1 OR 4.2. 
Answer the questions in the spaces provided on this question paper. 
QUESTION 1 (25 minutes) 
Study the extract from Beethoven's Violin Sonata Op. 34 and answer the questions  that follow.

1.1 Name the main key of this piece.   __________________________________ (1)
1.2 Name the intervals at (a) and (b) according to type and distance. 

1. __________________________________ 
2. __________________________________ (2) 

1.3 Transpose the treble clef part of the piano accompaniment of bars 2 to 31 at X  a minor 3rd higher. Insert the new key signature. 
(3) 
1.4 Rewrite the treble clef part of the piano accompaniment of bars 2 to 31 at X  an octave lower to be played by a viola. Insert the correct clef and key  signature. 
(3)
1.5 Name the triads at (c) and (d) according to type and position. Consider only the  notes in the block. 
(c) __________________________________ 
(d) __________________________________ (2) 
1.6 Add accidentals to certain ascending notes in bar 7 at Y to form a chromatic  passage. 
(2) 
1.7 Name the key to which the music modulates in bars 8 to 10. __________________________________ (1)
1.8 Circle the enharmonic equivalent of Eb on the score. (1) 
1.9 Complete the melodic fragment below by adding TWO ascending sequences in the  space provided. 
(2) 
1.10 Name the type of scale on which the passage below is based. 

__________________________________ (1)
1.11 Complete the following whole-tone scale by adding semibreves at the asterisks (*). 
(2)   [20]

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

The melody will be marked according to the following criteria:  [15] 

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

The melody will be marked according to the following criteria:  [15]

QUESTION 3 (10 minutes)
Answer EITHER QUESTION 3.1 OR QUESTION 3.2. 
3.1 Study the extract from the chorale Es ist gewisslich an der Zeit by JS Bach  and answer the questions that follow. 

3.1.1 Name the key of this extract. ___________________________________________________ (1) 
3.1.2 Identify chords (a) to (d) and figure them on the score. Use Roman  numerals, e.g. IV. (4) 
3.1.3 Figure and name the cadence at (e) in bar 4.  Cadence____________________________________________ (2)
3.1.4 Name the type of non-chordal note at (i) and (ii).  

1. ___________________________________________________ 
2. ___________________________________________________ (2)

3.1.5 With which cadence does this extract end? _____________________________________________________ (1) [10] 
OR
3.2 Study the extract below from Smoke Gets In Your Eyes by Jerome Kern and  answer the questions that follow.

3.2.1 The main key of this work is C major. Which ONE of the keys below is the submediant minor of this key? Make a cross (X) in the  appropriate block.  (1) 

3.2.2 Identify chords (a) to (e) and figure them on the score. Use chord  symbols above the score, e.g. Bb/D. (5)
3.2.3 Name the type of non-chordal notes at (i), (ii) and (iii). 

1.  _____________________________________________ 
2. _____________________________________________ 
3. _____________________________________________ (3)

3.2.4 Name the cadence at X in bars 8 and 9.  ________________________________________________ (1) [10]

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

The harmonisation will be marked according to the following criteria:  [15] 

OR
4.2 Complete the piece below by adding a suitable bass line and harmonic  material in the incomplete bars. Continue in the style suggested by the given  material in bars 1 and 2. 

The harmonisation will be marked according to the following criteria: 

[15] 
TOTAL SECTION A: 60

SECTIONS B, C, D, E: GENERAL MUSIC KNOWLEDGE (90 minutes) 
Answer SECTION B 
AND SECTION C (Western Art Music)  
OR SECTION D (Jazz)  
OR SECTION E (Indigenous African Music).  
Answer these questions in the ANSWER BOOK provided. 
SECTION B: GENERAL (COMPULSORY) 
QUESTION 5 
5.1 Various options are provided as possible answers to the following  questions/statements. Choose the answer and write only the letter (A to D)  next to the question numbers (5.1.1 to 5.1.10) in the ANSWER BOOK,  e.g. 5.1.11 D. 
5.1.1 Meaning of polyphonic: 

1. Music with more than one melody or voice 
2. Two or more simultaneous lines of independent melody 
3. Two or more instruments playing together 
4. All of the above-mentioned 

5.1.2 Syncopation is a term ... 

1. used only in pop music. 
2. referring to a passage with sharp accents. 
3. describing accents on the normally weak beats. 
4. All of the above-mentioned 

5.1.3 An accordion is typically used in … 

1. boeremusiek.
2. Baroque music.
3. isicathamiya.
4. Romantic music. 

5.1.4 Tonal music … 

1. is based on major and minor scales. 
2. uses related keys in a single piece or movement. 
3. includes music from the Baroque and Romantic eras.
4. All of the above-mentioned 

5.1.5 Timbre is the … 

1. specific quality of a musical sound. 
2. type of sound a specific instrument makes, e.g. the clarinet. 
3. tone colour of a group of instruments, e.g. the strings. 
4. All of the above-mentioned

5.1.6 A very soft, dynamic level in music: 

1. Piano
2. Mezzo piano
3. Pianissimo
4. All of the above-mentioned 

5.1.7 ABA structure of a music work is also called … 

1. ternary form.
2. binary form.
3. verse and chorus.
4. call and response. 

5.1.8 Which of the following is a typical African instrument? 

1. Clarinet
2. Mbira
3. Sitar
4. Koto 

5.1.9 Which of the following instruments is an idiophone? 

1. Cowbell
2. Djembe
3. Banjo
4. Saxophone 

5.1.10 The term a cappella refers to a … 

1. chapel choir. 
2. solo. 
3. work without accompaniment. 
4. muted performance. (10 x 1) (10) 

5.2 Answer the questions that follow. 
5.2.1 Define the term texture with reference to music. (1)
5.2.2 Name and describe any TWO types of texture. (4) 
5.3 Apart from being a performer, name FOUR other careers that you can follow  in the music industry. (4) 
5.4 Define the term mechanical rights. (1)

TOTAL SECTION B: 20

Answer SECTION C (WAM) 
OR SECTION D (JAZZ) 
OR SECTION E (IAM). 
SECTION C: WESTERN ART MUSIC (WAM)  
QUESTION 6 
6.1 Describe THREE of the following: 
6.1.1 Symphonic poem 
6.1.2 Opera seria 
6.1.3 Overture 
6.1.4 Aria (3 x 2) (6)
6.2 Give ONE word/term for FOUR of the following descriptions: 
6.2.1 The woodwind instrument that was played in the Classical  orchestra but not in the Baroque orchestra 
6.2.2 A non-transposing instrument in an orchestra's brass section 
6.2.3 A double-reed instrument found in the standard Classical orchestra
6.2.4 A plucked sound played by the string players 
6.2.5 An Italian tempo indication which means slowly (4) [10] 

QUESTION 7  
Write a paragraph in which you briefly comment on the comic nature of Mozart's opera,  Die Zauberflöte by referring to the character of Papageno and his aria,  Der Vogelfänger bin ich ja. [5]

QUESTION 8 
Complete the comparison below of the first movement of Symphony No. 6 in F major,  Op. 68 by Beethoven and the Overture to Die Zauberflöte by Mozart. Write only the  answers next to the question numbers (8.1 to 8.5) in the ANSWER BOOK,  e.g. 8.6 Ternary form.  [5] 

QUESTION 9  
Although Mendelssohn's Hebrides Overture was written during the Romantic style  period, it was still heavily influenced by typical characteristics of the Classical period.  Write a paragraph in which you describe these Classical influences. [5]

QUESTION 10 
Beethoven's Symphony No. 6 in F major, Op. 68 has a subtitle, A recollection of  country life.  Refer to the statement above and write an essay in which you discuss the different  expressions of country life in the FOURTH and FIFTH movements. Refer to the title and tone painting in these movements of the symphony.  
You will be credited for the logical presentation of facts and the structure of your essay. The essay will be marked according to the following criteria: 

[15] 
TOTAL SECTION C: 40 

OR
SECTION D: JAZZ 
QUESTION 11 
11.1 Describe the following terms: 
11.1.1 Swing rhythm 
11.1.2 Scatting 
11.1.3 Ghoema 
11.1.4 Malombo (4 x 2) (8)
11.2 Give a term for the following statements: 
11.2.1 An early American piano style that influenced marabi (1) 
11.2.2 A short repeated phrase in jazz typically used as an introduction (1) [10] 

QUESTION 12 
Choose ONE of the performers and state which music characteristics you would  expect to hear if you attend a concert by either Dolly Rathebe, Thandi Klaasen or Miriam Makeba. [5] 

QUESTION 13 
Compare the kwela, mbaqanga and marabi music styles with one another. Write only  the answers next to the question numbers (13.1 to 13.5) in the ANSWER BOOK,  e.g. 13.6 Brenda Fassie.  [5] 

QUESTION 14 
Write a paragraph in which you describe the typical characteristics of the music of ONE of the artists/bands below: 

• Zim Nqawana 
• Spirits Rejoice  
• Sakhile [5]

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

• Abdullah Ibrahim  
• Robbie Jansen  
• Winston Mankunku Ngozi 

Discuss the artist's music by referring to influences, rhythm, harmony, melody, texture  and instrumentation. Name at least TWO albums/songs to substantiate your answer. 
You will be credited for the logical presentation of facts and the structure of your essay. The essay will be marked according to the following criteria: 

[15] 
TOTAL SECTION D: 40 

OR
SECTION E: INDIGENOUS AFRICAN MUSIC (IAM) 
QUESTION 16 
16.1 Describe the following terms: 
16.1.1 Isihlabo (2)
16.1.2 Malombo (2)
16.1.3 Kiba (2)
16.1.4 Amahubo (2) 
16.2 With which instrument do you associate TWO of the following statements?
16.2.1 The smallest drum used in Kiba music 
16.2.2 The chordophone that influenced the tuning style of the maskandi guitar 
16.2.3 The drum used to accompany songs that call the ancestral spirits  in vhaVenda culture (2) [10] 

QUESTION 17 
Izibongo is an integral feature of a maskandi song. 
Expand on this statement by referring to the role of izibongo in maskandi. [5]

QUESTION 18 
Complete the comparison below of the malombo, mbaqanga and maskandi music  styles. Write only the answers next to the question numbers (18.1 to 18.5) in the ANSWER BOOK, e.g. 18.6 Miriam Makeba.  [5]

QUESTION 19 
Describe the importance of rhythm in African music. [5]

QUESTION 20 
Zulu indigenous beliefs have influenced the music and performance practices of  isicathamiya. 
Discuss the statement above by referring to the following:  

• Relevance of animals 
• Zulu family residence 
• Stick fighting competitions (ukuqatha) 
• Umuntu ngumuntu ngabantu 

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

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