MUSIC
PAPER 2
GRADE 12 
NSC PAST PAPERS AND MEMOS
FEBRUARY/MARCH 2017

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.
  6. The music teacher of the centre must conduct the examination in the presence  of the invigilator. 
  7. The last page of this question paper is manuscript paper intended for rough  work. The candidate MAY NOT remove this page.
  8. Candidates may NOT have access to any musical instrument for the duration of  this examination.
  9. Candidates must take note of the mark allocation at each question to provide  enough information in their answers.
  10. Write neatly and legibly.

INSTRUCTIONS TO THE PERSON OPERATING THE SOUND EQUIPMENT 

  1. The instructions for the music teacher appear in frames. 
  2. Each musical extract (track) must be played the number of times specified in  the question paper. 
  3. Allow adequate time between tracks to give 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, (Western Art Music (WAM), Jazz, Indigenous African Music (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.
  6. The tracks have to be played as follows:
    • WAM candidates: Tracks 1–19 and Tracks 33–36
    • Jazz candidates: Tracks 1–13, Tracks 20–23 and Tracks 33–36
    • IAM candidates: Tracks 1–13, Tracks 24–32 and Tracks 33–36 
  7. A battery-powered CD player must be available in case of a power failure.

SUMMARY OF MARKS

SECTION A: AURAL 

TOTAL

QUESTION 1 (COMPULSORY) 

4

QUESTION 2 (COMPULSORY) 

6

SUBTOTAL 

10

SECTION B: RECOGNITION 

TOTAL

QUESTION 3 (COMPULSORY) 

4

QUESTION 4 (WAM) OR 

8

QUESTION 5 (JAZZ) OR 

8

QUESTION 6 (IAM) 

8

SUBTOTAL 

12

SECTION C: FORM 

TOTAL

QUESTION 7 (COMPULSORY) 

8

SUBTOTAL 

8

GRAND TOTAL 

30

 

Note to the marker: Candidates must be credited for any correct answers not given in  the memorandum.

MEMORANDUM

SECTION A: AURAL 
QUESTION 1 

Play Track 1 TWICE in succession.

1.1 Listen to the melodic and rhythmic phrase. Notate the rhythm of the missing  notes in bars 3–4 below. 

Play Track 1 TWICE again.

Answer: 
254 kjhadhs(3) 

½ mark per note as indicated = 3 marks

 

Play Track 2 THREE times in succession.

1.2 Which ONE of the extracts below best represents the solo violin part? Make a  cross (X) in the appropriate block. 

X(1) 

[4] 

Play Track 2 ONCE more.

 

Correct answer = 1 mark

QUESTION 2 

Play Track 3 ONCE to provide a general overview.



Listen to the extract from Menuet in G by Mozart. Answer the questions that follow.
255 meneguet

Play Track 4 TWICE.

2.1 The notation of bars 23b–42has been omitted at 2.1 in the score. Fill in the  missing pitches on the score that correspond to the music that you hear. 
Answer: 
256 lkjalkj   (3) 

½ mark for each correct pitch = 6 X ½= 3 marks 

Play Track 5 ONCE.

2.2 Name the cadence at (a) in bars 73–82. (The track starts in bar 1.)
Answer: 

  • Perfect (cadence) (1) 

1 mark 

 

Play Track 6 ONCE.

2.3 Listen to the music in bars 83–122. Which compositional technique is used  at (b)? (The track starts in bar 83.) 
Answer: 

  • Sequence
  • Rhythmic repetition  (1) 

Any correct answer = 1 mark 

Play Track 7 TWICE.

2.4 Complete the missing bass notes at (c) on the score. (The track starts in  bar 123.) 
257 poklkjzhnkjd
Answer:  (1) 

½ mark for each correct pitch = 1 mark 

[6] 

Play Track 8 for a final overview. 

TOTAL SECTION A: 10

SECTION B: RECOGNITION OF MUSIC CONCEPTS 
QUESTION 3: GENERAL LISTENING (COMPULSORY) 
Listen to the following tracks and answer the questions that follow. 

Note to marker: if a candidate selected more than one item in a question, only the  first item must be marked.

 

Play Track 9 ONCE.

3.1 Listen to the music and indicate ONE feature that you hear. Make a cross (X)  in the appropriate block. 
Answer: 

  • String ensemble  (1) 

1 mark 

Play Track 10 TWICE.

3.2 Choose any ONE item in COLUMN A and briefly describe in COLUMN B what  you hear. 
Answer: 

COLUMN A 

COLUMN B DESCRIPTION

Tonality 

Major 

Vocal technique 

Scatting (vocal nonsense-syllable singing)/  vocal improvisation/vocalise

Voice type 

Female voice/alto 

 

Correct answer = 1 mark 

(1) 

Play Track 11 TWICE.

3.3 Choose any TWO items in COLUMN A and briefly describe in COLUMN B what you hear. 
Answer: 

COLUMN A 

COLUMN B DESCRIPTION

Compositional technique 

Call and response/Imitation/Repetition

Harmony 

Repeated pattern

Time signature 

4/4 or 2/2

 

Correct answers = 2 marks 

(2)

Note to marker: if a candidate selected more than two items, only the first two items  must be marked.

Play Tracks 12 and 13 in succession.

3.4 In Tracks 12 and 13 you will hear TWO different performances of the same  piece. Compare these two extracts in terms of the following: 
Answer:  (4) 

 

Track 12 

Track 13

Instrumentation 

Harpsichord 

Piano, drums, bass

Texture 

Polyphonic 

Polyphonic

Style 

Baroque 

Jazz

Use of Rhythm 

Straight 

Swing 

1 correct answer per comparison = 1 mark No ½ marks

(8 ÷2) (4) 
TOTAL SECTION B: 4

Answer QUESTION 4 (WAM) OR QUESTION 5 (JAZZ) OR QUESTION 6 (IAM).
QUESTION 4: WAM 
4.1 Listen to the following extract and answer the questions that follow. 

Play Track 14 ONCE.

4.1.1 Name the work from which this extract has been taken. 
Answer: 

  • Hebrides Overture 
  • Fingal's Cave  (1) 

Any correct answer = 1 mark 

4.1.2 Identify the tonality of this extract. Make a cross (X) in the  appropriate block. 
Answer: 

  • Major  (1) 

1 mark 

Play Track 15 ONCE.

4.1.3 Describe the melodic line. 
Answer: 

  • Legato/Smooth/Flowing 
  • Cantabile/in a singing style/Lyrical
  • Rapid crescendos and decrescendos 
  • Constant ascending and descending line
  • Played by cello section   (2) 

Any 2 correct answers = 2 marks 

4.1.4 Identify the cadence at the end of this extract. 
Answer: 

  • Perfect cadence   (1)

1 mark 

4.2 Listen to the extract from Mozart's The Magic Flute in Track 16 and answer  the questions that follow. 

Play Track 16 TWICE.

4.2.1 Name the character who sings in this extract. 
Answer: 

  • Sarastro   (1) 

1 mark 

4.2.2 What does this character represent in the opera? 
Answer:  

  • Goodness
  • Fatherhood
  • Reverence  (1) 

Any correct answer = 1 mark 

4.2.3 Name the voice type that you hear in this extract. 
Answer: 

  • Bass   (1) 

1 mark 

4.2.4 Suggest a suitable Italian tempo indication for this extract. 
Answer: 

  • Adagio
  • Largo  (1) 

Any 1 suitable Italian term = 1 mark 

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

  • Act 2 
  • Before Tamino is subjected to the trials  (1) 

Any correct answer = 1 mark 

4.2.6 Describe what is happening in the storyline at this point. 
Answer: 

  • Sarastro sings of the ideals of the Brotherhood after Pamina  pleads for mercy for her mother, the Queen
  • Sarastro makes a plea to the Egyptian gods to assist Tamino  during his trials ∙  (1)

Any correct answer = 1 mark 

4.3 Listen to the extract from Beethoven's Symphony No. 6 in Track 17 and  answer the questions that follow. 

Play Track 17 ONCE.

4.3.1 Choose the term that refers to this extract. Make a cross (X) in the  appropriate block. 
Answer:  

  • Tutti  (1) 

1 mark 

Play Track 18 ONCE.

4.3.2 Name the woodwind instrument which plays the high-pitched  melodic fragment in this extract. 
Answer: 

  • Flute (1) 

1 mark 

4.3.3 From which movement of the Symphony No. 6 by Beethoven has  this extract been taken? 
Answer: 

Related Items

  • First movement  (1) 

1 mark 

Play Track 19 TWICE.

4.4 Describe TWO style characteristics that you hear in this extract. 
Answer: 

  • Homophonic texture 
  • Regular phrasing 
  • Clear-cut cadences
  • Melodic motifs used abundantly
  • Concerto genre used (oboe and strings)  (2) 

Any 2 correct answers = 2 marks 

(16 ÷ 2) [8] 
TOTAL SECTION B: 12 

OR
QUESTION 5: JAZZ 
5.1 Listen to the extracts and answer the questions that follow. 

Play Track 20 TWICE.

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

  • Modern jazz  (1) 

1 mark 

5.1.2 Identify the piece in this extract 
Answer: 

  • Shebeen (by Hugh Masekela & The Union of South Africa)  (1) 

1 mark 

5.1.3 Name TWO artists that are associated with the music style in this  extract. 
Answer: 

  • Hugh Masekela (Trumpet)
  • Jonas Gwangwa (Trombone) 
  • Caiphus Semenya (Alto saxophone)  

Any 2 correct artists = 2 marks

OR 

  •  Hugh Masekela and The Union of South Africa  (2) 

Answer = 2 marks 

5.1.4 Identify TWO idiophones that are part of the rhythm section in the  music in this extract. 
Answer: 

  • Shakers
  • Cow bell
  • Cymbals 
  • Tambourine  (2)

Any 2 correct answers = 2 marks 

5.2 Listen to the extract in Track 21 and answer the questions that follow. 

Play Track 21 TWICE.

5.2.1 Identify the jazz style in this extract. 
Answer: 

  • Kwela  (1) 

1 mark 

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

  • Cyclic chord structure 
  •  Solo player with band
  • Lively tempo 
  • Skiffle-like beat
  • Jive/Swing rhythms
  • Melodic material developed in improvisation 
  • Pennywhistle   (3) 

Any 3 correct answers = 3 marks 

5.2.3 Which jazz artist from the 1950s had an influence on this type of  jazz? 
Answer: 

  • Spokes Mashiyane 
  • Lemmy Mabaso 
  • Elias Lerole  (1)

Any 1 correct artist = 1 mark 

5.3 Listen to the extract in Track 22 and answer the questions that follow. 

Play Track 22 TWICE.

5.3.1 Give reasons why you would regard the extract as a typical Cape  jazz piece. 
Answer: 

  • Rhythmic characteristics of amaXhosa music
  • Ghoema beat 
  • Marching and Christmas band harmonies 
  • Banjo and guitar rhythms from Kaapse Klopse 
  • Specific playing style of piano
  • Saxophone produces melody in a nasal tone with vibrato at the  end of phrases 
  • Characteristics of Khoi-San mouth bow evident  (3)

1 mark for each correct answer up to 3 marks 

Play Track 23 ONCE.

5.3.2 Describe the style of saxophone playing in your own words.
Answer: 

  • It plays the melody 
  • Uses a scooping performance technique
  • Plays in the middle register 
  • Nasal tone colour used 
  • Vibrato at the end of phrases  (2) 

Any 2 correct answers = 2 marks 

(16 ÷ 2) [8] 
TOTAL SECTION B: 12 

OR

QUESTION 6: IAM 
6.1 Listen to the extracts and answer the questions that follow. 

Play Track 24 ONCE.

6.1.1 Identify the style of music in this extract. 
Answer: 

  • Free Kiba
  • Malombo
  • African Jazz  (1) 

Any correct answer = 1 mark 

Play Track 25 THREE times in succession.

6.1.2 Choose the order in which the instruments appear. Make a cross  (X) in the appropriate block. 
Answer: 

Instrument order

                           

Drums/Percussion, piano, bass guitar 

 

Drums/Percussion, bass guitar, piano 

x

Drums/Percussion, piano and bass guitar

 

Correct answer = 1 mark 

(1) 

Play Track 26 ONCE.

6.1.3 What is the role of the female voices in this song? 
Answer:  

  • Backing vocals
  • Response to the 'call' of leader (male) 
  • Fills in the harmony  (1) 

Any correct answer = 1 mark 

6.1.4 What typical African compositional technique is heard in this  extract? 
Answer: 

  • Call and response (1)

1 mark 

6.2 Listen to the following TWO tracks which will be played in succession and  answer the questions that follow. 

Play Track 27 and Track 28 ONCE in succession.

6.2.1 The TWO extracts have a similar purpose or function. Explain the  purpose and function of the music in these two extracts. 
Answer: 

  • Religious or sacred purpose
  • Ritualistic
  • Communication with Ancestors/God
  • Relate to African divinity  (2) 

Any 2 correct answers = 2 marks 

6.2.2 Indicate ONE group associated with Track 27. Make a tick (X) in  the appropriate block. 

ZCC 

Amazayoni 

Apostolic Church 

Shembe

Answer: 

  • Amazayoni  (1) 

1 mark 

Play Track 29 ONCE.

6.2.3 Describe the use of rhythm in the membranophones. 
Answer: 

  • Polyrhythms
  • Syncopation
  • Repetitive  (1) 

Any correct answer = 1 mark 

Play Track 30 ONCE.

6.2.4 Describe the texture of this song. 
Answer: 

  • Overlapping voices 
  • Call and response  (1)

Any correct answer = 1 mark 

Play Track 31 THREE times.

6.3 Listen to the extract below and answer the questions that follow. 
6.3.1 With what indigenous South African music style would you  associate this extract? 
Answer: 

  • Isicathamiya  (1) 

1 mark 

6.3.2 Which music performance characteristics heard in this extract, are  common to the style of music in 6.3.1? 
Answer: 

  • Overlapping voices 
  • Male choir/ensemble
  • Use of falsetto 
  • Repetitive cyclic harmonic progressions  (3) 

1 mark for each correct answer up to a maximum of 3 marks 

Play Track 32 ONCE.

6.4 Identify the style of music in this extract. Give TWO reasons for your answers. 
Answer: 

  • Style: Mbaqanga 

Reasons:  

  • Small ensemble of players 
  •  Use of repetitive guitar melodic riffs 
  •  Interweaving electric guitar lines repeated throughout
  • Guitar introduction 
  • Guitar strings have a soft tone quality on electric guitar
  • R&B fused with the cyclic structure of Marabi 
  • Emphasis on off-beats typical of the style  (3) 

Mbaqanga = 1 mark Reasons: Any 2 correct answers = 2 marks 

(16 ÷ 2) [8] 
TOTAL SECTION B: 12

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

Play Track 33 ONCE to provide an overview.

Listen to the following piece while you study the score.
258 lknaljkn
259 lknakj

Play Track 33 again.

7.1 What is the overall form of this piece? 
Answer: 

  • Ternary form 
  •  ABA   (1) 

Any correct answer = 1 mark 

7.2 Motivate your answer to QUESTION 7.1 by giving a schematic layout of the  form of this piece. Use the table below. 
Answer: 

Section 

Bar numbers 

Marks

A ½ (including Introduction) or 

A ½

1–20 ½ 

or 

5–20 ½

= 1 mark

B ½ 

21–34 ½ 

= 1 mark

A ½ 

35–52 ½ 

= 1 mark

Cadence extension (part of A) 

50–52

 

½ mark for each correct section = 1½ marks 

½ mark for each correct set of bar numbers = 1½ marks 

(3) 
7.3 Name the key of this piece. 
Answer: 

  • A minor  (1) 

1 mark 

7.4 Choose the term that describes the mood of this piece. Make a cross (X) in  the appropriate block. 
Answer: 

  • Affettuoso  (1) 

1 mark 

Play Track 34 TWICE.

7.5 Which compositional technique is used in bars 31–32? (The track starts in  bar 31.) 
Answer: 

  • Imitation/Repetition of a three- note motive an octave higher   (1)

1 mark 
Merely imitation/repetition = ½ mark 

Play Track 35 TWICE.

7.6 Write down an Italian term which describes what happens to the tempo in  bar 34. (The track starts in bar 33.) 
Answer: 

  • Ritardando
  • Rallentando   (1) 

Any correct answer = 1 mark 

[8] 

Play Track 36 for a final overview. 

TOTAL SECTION C: 8 
GRAND TOTAL: 30

Last modified on Monday, 16 August 2021 11:42