MUSIC PAPER 2
GRADE 12
NATIONAL SENIOR CERTIFICATE
MEMORANDUM
SEPTEMBER 2018

MARKING GRID

SECTION A: AURAL
QUESTION 1 (COMPULSORY)
Play Track 1 TWICE in succession.
1.1 Identify the time signature of this extract. Make a cross (X) in the relevant block below.

Play Track 2 THREE times. Wait 30 seconds between each repetition.
1.2 Listen to the melodic and rhythmic phrase. Notate the rhythm of the missing notes in bars 3 and 4 on the stave below.
1 mark for each correct note value.
The note values must be written in the correct order.
(9 ÷ 3) (3)
[4]

QUESTION 2 (COMPULSORY)
Play Track 3 ONCE to provide a general overview.
Listen to the melody from Lieder ohne worte, Op. 62 no. 1 by F. Mendelssohn and answer the questions that follow.
2.1 Name the main key of this extract.
Answer: G major (1)
Play Track 4 ONCE.
2.2 Identify the non-harmonic note at 2.2.
Answer: Suspension (1)
Play Track 5 THREE times. Wait 30 seconds between each repetition
2.3 Listen from bar 43 and fill in the missing notation at 2.3 on the score.
Answer:
½ ½ ½ ½ ½ ½

Both pitch and rhythm must be correct for ½ mark.
(6 x ½) (3)
2.4 On which beat does this extract begin?
Answer: Third beat (1)
Play Track 6 ONCE.
2.5 Which ONE of the following ornaments is used in this extract? Make a cross (X) in the relevant block.

(1)
Play Track 7 ONCE.
2.6 Name the cadence and chords used at the end of the extract.
Answer: Perfect cadence, V7 – I
Perfect cadence = 1 mark
V⁷ – I = 1 mark (2)
2.7 Circle a melodic interval of a diminished fifth on the score.
See score for answer (bar 12). (1)
2.8 Give ONE term that best describes the free use of tempo when performing this piece.
Answer: Rubato (1)
2.9 During which style period was this piece composed?
Answer: Romantic period (1)
(12 ÷ 2)
[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 Play Track 8 TWICE.

(3)
3.2 Play Track 9 TWICE.

(3)
3.3 Play Track 10 TWICE.

(3)
3.4 Play Track 11 TWICE.

(3)
(12 ÷ 3)
[4]

Answer QUESTION 4 (WAM) OR QUESTION 5 (JAZZ) OR QUESTION 6 (IAM).
QUESTION 4: WAM
4.1 Play Track 12 TWICE.
4.1.1 Which ONE of the following illustrates the correct rhythm of the theme that you hear? Make a cross (X) in the relevant block.
Play Track 12 ONCE again.
4.1.2 Is the tonality of this extract major or minor?
Answer: Minor (1)
Play Track 13 TWICE.
4.1.3 What do the first three opening chords have in common with the tonic key of this extract?
Answer:
Each chord is built on the notes of the tonic key (B-D-F#). (1)
Play Tracks 14 and 15 TWICE in succession.
4.1.4 Compare the theme in Tracks 14 and 15 with regards to articulation and compositional techniques used. Mention ONE difference in articulation, ONE difference in compositional techniques and ONE similarity in compositional techniques.

(3)
4.2 Play Track 16 TWICE.
4.2.1 Identify the characters and voice types singing in this extract.
Character 1:
Papageno – Baritone
Character 2:
Papagena – Soprano

 (2)
4.2.2 To which subgenre of opera music does this extract belongs to?
Answer: Duet (1)
4.2.3 Name the title of the opera and the composer.
Answer: The Magic Flute (1 mark)
W.A. Mozart (1 mark) (2)
4.3 Play Track 17 TWICE.
4.3.1 Describe this work with regards to instrumentation, genre and style period.
Instrumentation:
Standard Classical symphony orchestra
Genre:
Symphony
Style period:
Classical period
Instrumentation = 1 mark
Genre = 1 mark
Style period = 1 mark (3)
Play Track 17 ONCE again.
4.3.2 Identify the texture used in this extract.
Answer: Homophonic texture (1)
4.3.3 Provide this extract with a suitable title.
Answer:
Awakening of happy feelings on getting out into the country (1)
(16 ÷ 2)
[8]
OR

QUESTION 5: JAZZ
5.1 Play Track 18 ONCE.
5.1.1 Name the artist performing in this extract.
Answer: Miriam Makeba (1)
Play Track 19 ONCE.
5.1.2 Identify the chordophone instrument playing at the beginning of this extract.
Answer: Double bass (1)
Play Track 20 TWICE.
5.1.3 Comment on the use of harmonic chord progression used in this work.
Answer:
Cyclical/repeated chord progression (1 mark)
Chord progression: I – IV – I – V (1 mark) (2)
5.1.4 Provide this extract with a suitable title.
Answer: Wimbowwee (1)
5.2 Play Track 21 TWICE.
5.2.1 Choose the correct combo of instruments used in this extract. Make a cross (X) in the relevant block.
(1)
Play Track 22 TWICE.
5.2.2 Name TWO rhythmical devices used on the percussion instrument.
Answer:
Swing rhythms on hi-hats
Off-beats on the kick and snare drum
1 mark for each rhythmical device. (2)
5.2.3 Give ONE term for the melodic material created on the solo instruments.
Answer: Improvisation (1)
Play Track 22 ONCE again.
5.2.4 With which group do you associate this extract?
Answer: The Jazz Epistles (1)
5.3 Play Tracks 23 and 24 TWICE in succession.
5.3.1 Listen to Tracks 23 and 24 and choose TWO correct features that correspond with each extract that you hear. Make a cross (X) next to TWO features.

(4)
Play Track 25 TWICE.
5.3.2 With which artist and jazz style do you associate this track?
Artist: Gideon Nxumalo
Jazz style: New Jazz

(2)
(16 ÷ 2)
[8]
OR

QUESTION 6: IAM
6.1 Play Track 26 TWICE.
6.1.1 Describe the music with regards to genre, instrumentation and artist/group.
Genre: Isicathamiya
Instrumentation: A capella male voices
Artist/Group: Ladysmith Black Mambazo

(3)
Play Track 27 ONCE.
6.1.2 Identify TWO vocal techniques used as ornamentation in this extract.
Answer: Glissando and bended/scooped notes
1 mark for each technique. (2)
Play Track 28 ONCE.
6.1.3 Which typical characteristic of African music features predominantly between the voices? Make a cross (X) in the appropriate block.

(1)
6.2 Play Track 29 ONCE.
6.2.1 Name the South African style associated with this extract.
Answer: Maskandi (1)
6.2.2 With which African tribe do you associate this music?
Answer: AmaZulu (1)
Play Track 29 ONCE again.
6.2.3 Give a term for the instrumental introduction used in this style of music.
Answer: Izihlabo (1)
6.2.4 Name ONE other South African style in which the concertina features predominantly.
Answer: Boeremusiek (1)
6.3 Play Track 30 TWICE.
6.3.1 Name the woodwind instrument that features in this extract.
Answer: Saxophone (1)
6.3.2 Which other typical African instrument does the instrument mentioned in QUESTION 6.3.1 imitate?
Answer: The voice (1)
Play Track 31 ONCE.
6.3.3 Name ONE characteristic of Marabi music that is heard in this extract.
Answer: Simple repeated chord progressions (1)
Play Track 32 TWICE.
6.3.4 Comment on the use of rhythms in the two accompanying guitar parts (lower guitar and higher guitar).
Lower guitar:
provides harmonic rhythm
Higher guitar:
plays syncopated polyrhythms
1 mark for each guitar part. (2)
Play Track 33 ONCE.
6.3.5 Name the group that performs this extract.
Answer: Makgona tsohle Band (1)
(16 ÷ 2)
[8]
TOTAL SECTION B: 12

SECTION C: FORM
QUESTION 7 (COMPULSORY)
Play Track 34 ONCE to provide an overview.
Play Track 34 ONCE again.
7.1 What type of ensemble is used in this work?
Answer: Trio (1)
7.2 Identify the form of this work.
Answer: Ternary form / ABA’ (1)
7.3 Indicate the sections of the form mentioned in QUESTION 7.2 using CAPITAL LETTERS on the score.
Answer on the score. (3)
Play Track 35 TWICE.
7.4 Listen to the thematic material used in bars 03 – 42. Mention ONE similarity and ONE difference in the use of the thematic material.
Similarity:

• The theme/melody sounds the same in all three instruments.
  OR
• The thematic material uses the same rhythms and intervals/pitches.

Difference:
The theme in each instrument is imitated in a different range/octave.

(2)
Play Track 36 TWICE.
7.5 Listen to bars 16³ – 24 and name the key and cadence used at the end of the extract.
Answer: D major, Perfect cadence
Key = ½ mark
Cadence = ½ mark (1)
TOTAL SECTION C: 8
GRAND TOTAL: 30