matric exam revisions for the class of 2020

Matric Exam Revisions ForThe Class Of 2020

MUSIC P1

(2017, 2018, 2019)

QUESTION PAPERS & MEMOS

MUSIC P1

2017

QUESTION PAPER

Copyright reserved Please turn over

MARKS: 120 TIME: 3 hours

CENTRE NUMBER:

EXAMINATION NUMBER:

This question paper consists of 20 pages and 1 page of manuscript paper.

GRAAD 12

MUSIC P1

NOVEMBER 2017

NATIONAL SENIOR CERTIFICATE

GRADE 12

Music/P1 2 DBE/November 2017 NSC


INSTRUCTIONS AND INFORMATION 1. 2. 3.

This question paper consists of FIVE sections, namely SECTIONS A, B, C, D and E. SECTIONS A and B are compulsory. 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. 5. 6.

Write all music notation in SECTION A in pencil and all written text in blue or black ink on this question paper. Answer SECTION B and SECTION C or D or E in blue or black ink in the ANSWER BOOK provided. Number the answers correctly according to the numbering system used in this question paper.

7. 8. 9. 10.

The last page of this question paper is manuscript paper intended for rough work. Candidates may remove this page. Candidates may NOT have access to any musical instrument for the duration of this examination. Candidates must take note of the mark allocation of each question in order to provide enough information in their answer. Write neatly and legibly.



MARKING GRID

SECTION QUESTION MARKS MARKER MODERATOR A: THEORY OF MUSIC (COMPULSORY)

1 20

2 15

3 10

4 15

SUBTOTAL 60

AND B: GENERAL MUSIC

KNOWLEDGE (COMPULSORY)

5 20

SUBTOTAL 20

AND C: WAM 6 10

7 5

8 5

9 5

10 15

SUBTOTAL 40

OR D: JAZZ 11 10

12 5

13 5

14 5

15 15

SUBTOTAL 40

OR E: IAM 16 10

17 5

18 5

19 5

20 15

SUBTOTAL 40

GRAND TOTAL 120



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 below and answer the questions that follow.



1.1 Is this piece in duple time or quadruple time?

__________________________________

(1)

1.2 Name the intervals at 1.2.1 and 1.2.2 according to type and distance. 1.2.1

1.2.2

______________________________ ______________________________

(2)

1.3 Circle the enharmonic equivalent of Bb on the score. (1) 1.4 Name the triads at A and B according to type and position, e.g. major, second

inversion. (Consider ONLY the notes in the block.) A: ______________________________ B: ______________________________

(2) 1.5 Transpose the solo part at X a major second higher. Remember to add the

new key signature.

(2) 1.6 Rewrite the vocal part at Y TWO octaves lower for the cello. Use the correct

clef and key signature.

(3) 1.7 What is the meaning of the Italian term andante?

_______________________________________

(1)

1.8 Complete the chromatic scale below. Use appropriate rhythmic material.

(2)



1.9 Write the melodic form of the Bb minor scale ascending. Use the alto clef,

a key signature, semibreves. Indicate the semitones.

(3)

1.10 The extract below has changes in the time signature. Insert the correct time

signatures where there is an asterisk (*). * * *

(3) [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 marks. Instrument: ____________________________________________________

The melody will be marked according to the following criteria:

DESCRIPTION MARK ALLOCATION

CANDIDATE'S MARKS

Form and cadential points 3

Correctness Note stems, beats per bar, accidentals, spacing

2

Quality Suitability, dynamics, articulation, tempo indication, musicality

10

TOTAL 15

[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 marks. Instrument: ____________________________________________________



CANDIDATE'S MARKS



2

Quality Suitability, dynamics, articulation, tempo indication, musicality

10

TOTAL 15

[15]



QUESTION 3 (10 minutes) Answer EITHER QUESTION 3.1 OR QUESTION 3.2. 3.1 Study the adapted extract from the Piano Sonata in D, Op. 28 by Beethoven

below and answer the questions that follow.

3.1.1 The piece modulates from bar 10–12. Indicate the new key in the

space on the score.

(1) 3.1.2 Figure chords (a)–(g) in the spaces on the score. Indicate the key,

chord and position in each case, for example C: iiib/iii6

(7) 3.1.3 Name the type of non-chordal notes at (i) and (ii).

(i) _______________________________________ (ii) _______________________________________

(2) [10]

OR



3.2 Study the extract from Second Hand Rose by James F Hanley below and

answer the questions that follow.

3.2.1 Name the main key of this piece.

_______________________________________

(1)

3.2.2 Identify chords (a)–(g) and write the chord symbols in the spaces

above the stave on the score, e.g. D/A.

(7) 3.2.3 Name the type of non-chordal notes at (i) and (ii).

(i) _______________________________________ (ii) _______________________________________

(2) [10]



QUESTION 4 (30 minute) 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:


CANDIDATE'S MARKS

Chord progression Choice of chords, correct use of cadence 12

Correctness Notation, doubling, spacing, voice leading 14

Quality Musicality, non-chordal notes, awareness of style, creativity

4

30 ÷ 2

TOTAL 15

[15]

OR



4.2 Complete the piece below by adding suitable harmonic material on the open

staves. Continue in the style suggested by the given material in bar 1.

The harmonic material will be marked according to the following criteria:


CANDIDATE'S MARKS

Chord progression Choice of chords, correct use of cadence 14



4

30 ÷ 2

TOTAL 15

[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 ALL the 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.

Choose the answer and write only the letter (A–D) next to the question number (5.1.1–5.1.10) in the ANSWER BOOK, for example 5.1.11 D.

5.1.1 The term baritone describes a type of … A

B C D

female voice of high range. male voice of middle range. female voice of middle range. male voice of high range.

5.1.2 Unaccompanied vocal music is referred to as … A

B C D

mbaqanga. scat singing. a cappella. None of the above-mentioned

5.1.3 Which characteristic(s) is/are commonly found in jazz? A

B C D

Improvisation is rarely employed. Sonata form is extensively used. Syncopated rhythms and the swing feel are used. All the above-mentioned

5.1.4 Describes a note performed with an articulation type between

staccato and legato:

A

B C D

Agitato Portato Tenuto Martellato

5.1.5 The term crepitation refers to a/an ... A

B C D

instrumental technique typical of Indigenous African Music. playing technique on the violin typical of Western Art Music. slapping technique on the bass guitar typical of jazz music. vocal technique typical of Indigenous African Music.



5.1.6 The flute is both a … A

B C D

woodwind instrument and an aerophone. woodwind instrument and a chordophone. brass instrument and an aerophone. woodwind instrument and an idiophone.

5.1.7 An ostinato is ... A

B C D

motif that repeats a melodic pattern an octave higher. motif that repeats while material changes around it. motif that changes constantly as the piece progresses. section of music that features a sustained or repeated note.

5.1.8 The djembe is usually played … A

B C D

in the percussion section of a big band. with marching band music as part of the accompaniment. in the percussion section of a symphony orchestra. with choral music as part of the accompaniment.

5.1.9 Verse and chorus form is commonly used in … A

B C D

Baroque music. 12-bar blues. popular songs. orchestral music.

5.1.10 A coda is found at the end of ... A

B C D

each phrase of music. a piece of music. the bridge section. the first section in ternary form. (10 x 1)

(10)

5.2 5.3 5.4

Describe the function of a music publishing company. What is a performance rights licence? For how long is copyright valid?

(3) (1) (1)



5.5 Choose a term from COLUMN B that matches the description in COLUMN A.

Write only the letter (A–F) next to the question number (5.5.1–5.5.5) in the ANSWER BOOK, for example 5.5.6 G.

COLUMN A COLUMN B

5.5.1 5.5.2 5.5.3 5.5.4 5.5.5

Key Instrument Ululation Melodic interaction Metre

A B C D E F

call and response tonality beat vocal technique timbre texture

(5 x 1) (5)

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 Name TWO transposing instruments used in the standard Classical orchestra. (2) 6.2 Name the form type of the following: 6.2.1

6.2.2 6.2.3

Mendelssohn: Fingal's Cave Overture/Hebrides Overture Beethoven: Pastoral Symphony – fourth movement Mozart: The Magic Flute – overture

(1) (1) (1)

6.3 Give ONE musical term in opera for each of the following descriptions.

Write only the term next to the question number (6.3.1–6.3.5) in the ANSWER BOOK.

6.3.1

6.3.2 6.3.3 6.3.4 6.3.5

Musical introduction played by an orchestra and often consists of excerpts from the opera Text of an opera Solo for voice with orchestral accompaniment Piece sung by a large group of people on stage Italian comic opera

(5) [10]

QUESTION 7 7.1 7.2

State THREE differences between an exposition and a recapitulation, as found in sonata form. Identify a musical structure that is in compound ternary form. Give a schematic representation, for example AB.

(3) (2) [5]

QUESTION 8 The fourth movement (The Storm) of Beethoven's Symphony No. 6 is an early example of programme music. Describe how the programmatic content is represented in the music.

[5]



QUESTION 9 9.1 What type of orchestra does Mendelssohn use in his Hebrides Overture? (1) 9.2 All FOUR sections of an orchestra are represented in this work. Name the

instruments that appear in the score. Write only the instrument next to the question number (9.2.1–9.2.5) in the ANSWER BOOK, for example 9.2.6 harp, guitar.

9.2.1

9.2.2 9.2.3 9.2.4

Strings Woodwind Brass Percussion

(1) (1) (1) (1) [5]

QUESTION 10 Discuss in an essay how the characters of Tamino and Papageno are depicted through music. Refer to the following arias: • Dies Bildnis ist bezaubernd schön (This likeness is enchantingly lovely) • Der Vogelfänger bin ich ja (Yes, I am the birdcatcher)

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:

CRITERIA MARK ALLOCATION Tamino: Any three characteristics that match three depictions in the aria 6

Papageno: Any three characteristics that match three depictions in the aria 6

Logical presentation and structure of the essay 3 TOTAL 15

[15]

TOTAL SECTION C: 40

OR



SECTION D: JAZZ QUESTION 11 11.1 11.2

Define marabi in TWO sentences. Motivate why you regard Abdullah Ibrahim's music as Cape jazz.

(2) (4)

11.3 Name the music instrument played by EACH of the following artists: 11.3.1

11.3.2 11.3.3 11.3.4

Mahlathini Spokes Mashiyane Chris McGregor Feya Faku

(4) [10]

QUESTION 12 Write a paragraph on the social and musical origins of mbaqanga. [5] QUESTION 13 Discuss the style characteristics of ONE of the jazz at home artists/bands below. Name at least ONE hit/album: • Zim Nqawana • Sakhile • Spirits Rejoice

[5]

QUESTION 14 Write a paragraph on the music of early South African female groups. [5]



QUESTION 15 Write an essay in which you discuss kwela as a jazz genre. Refer to the musical origins, social value and musical features. Include ONE artist and ONE hit/album. 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:

CRITERIA MARK ALLOCATION

Musical origins 3 Social value 2 Musical features 5 Artist and hit/album 2 Logical presentation and structure of the essay 3 TOTAL 15

[15]

TOTAL SECTION D: 40

OR


Copyright reserved

SECTION E: INDIGENOUS AFRICAN MUSIC (IAM) QUESTION 16

16.1 Define mbaqanga in TWO sentences. (2) 16.2 Which musical features of malombo are typically African? (4) 16.3 Name the modern styles (constructs) of indigenous African music associated

with the terms below. Write only the music style next to the question number (16.3.1–16.3.4) in the ANSWER BOOK, for example 16.3.5 Malombo jazz.

16.3.1

16.3.2 16.3.3 16.3.4

Concertina TTBB Organ Moropa

(4) [10]

QUESTION 17 Discuss how izibongo is used in maskandi. [5] QUESTION 18 Discuss which features make free kiba different from traditional kiba. [5] QUESTION 19 Write a paragraph on the characteristics of isicathamiya. [5] QUESTION 20 Write an essay in which you discuss the social context and typical music elements of South African Indigenous Music. 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:

CRITERIA MARK ALLOCATION Social context 5 Typical music elements 7 Logical presentation and structure of the essay 3 TOTAL 15

[15]

TOTAL SECTION E:

GRAND TOTAL: 40

120

Music/P1 DBE/November 2017 NSC

Copyright reserved

MUSIC P1

2017

MEMO


MARKS: 120

These marking guidelines consist of 31 pages.

GRAAD 12

MUSIC P1

NOVEMBER 2017

MARKING GUIDELINES


GRADE 12

Music/P1 2 DBE/November 2017 NSC – Marking Guidelines



This question paper consists of FIVE sections, namely SECTIONS A, B, C, D and E. SECTIONS A and B are compulsory. 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. 5. 6.


7. 8. 9. 10.

The last page of this question paper is manuscript paper intended for rough work. Candidates may remove this page. Candidates may NOT have access to any musical instrument for the duration of this examination. Candidates must take note of the mark allocation of each question in order to provide enough information in their answer. Write neatly and legibly.



MARKING GRID


1 20

2 15

3 10

4 15

SUBTOTAL 60



5 20

SUBTOTAL 20

AND C: WAM 6 10

7 5

8 5

9 5

10 15

SUBTOTAL 40

OR D: JAZZ 11 10

12 5

13 5

14 5

15 15

SUBTOTAL 40

OR E: IAM 16 10

17 5

18 5

19 5

20 15

SUBTOTAL 40

GRAND TOTAL 120



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.

Note to marker: Words which are misspelt but meaning is clear, candidates are given the allocated mark(s).

QUESTION 1 (25 minutes) Study the extract below and answer the questions that follow.



1.1 Is this piece in duple time or quadruple time?

Answer: (Simple) Duple = 1 mark

(1)

1.2 Name the intervals at 1.2.1 and 1.2.2 according to type and distance. Answer:

1.2.1 Compound Major 3rd/Major 10th

1.2.2 Augmented 5th

1 mark each 1.2.1 Major 3rd only = ½ mark No mark for distance only

(2)

1.3 Circle the enharmonic equivalent of Bb on the score.

Answer: Bar 7 beat 2½ (or beat 4) = 1 mark

(1) 1.4 Name the triads at A and B according to type and position, e.g. major, second

inversion. (Consider ONLY the notes in the block.) Answer: A: Minor - First inversion B: Diminished – Root position

Type Position

= ½ mark = ½ mark (X 2) = 2

Alternative answers:

A: B:

iii6(=1 mark) OR bm/D (= 1 mark) iii (=½ mark) G#dim OR io# (= 1 mark)

(2) 1.5 Transpose the solo part at X a major second higher. Remember to add the

new key signature. Answer:

Key signature

Notation = 1 mark = 1 mark

(Minus ½ mark per error to a maximum of 1 mark) Absence of time signature not penalised

(2)



1.6 Rewrite the vocal part at Y TWO octaves lower for the cello. Use the correct

clef and key signature. Answer:

OR

Correct clef Correct key signature Notation

= ½ mark = ½ mark = 2 marks (½ mark per bar)

(Minus ½ mark per error to a maximum of 2 marks)

(3) 1.7 What is the meaning of the Italian term andante?

Answer: At a walking pace Ccorrect description = 1 mark

(1)

1.8 Complete the chromatic scale below. Use appropriate rhythmic material.

Possible answers: ½ ½ ½ ½

Notation = ½ mark per pitch = 2 marks No marks for incorrect rhythm. Any correct possible chromatic combinations/notation and rhythmic material will be accepted.

(2)



1.9 Write the melodic form of the Bb minor scale ascending. Use the alto clef,

a key signature, semibreves. Indicate the semitones. Answer:

Alto clef = 1 mark Key signature = 1 mark Notation, accidentals, semitones: minus ½ mark per mistake to a maximum of 1 mark = 1 mark Without key signature: only 2 marks

(3)

1.10 The extract below has changes in the time signature. Insert the correct time

signatures where there is an asterisk (*).

Answer:

OR

Any correct time signature = 1 mark each x 3 = 3 marks

(3) [20]



QUESTION 2 (25 minutes) Answer EITHER QUESTION 2.1 OR QUESTION 2.2. 2.1 and 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 marks.

Concept answers: 2.1 Instrument: Guitar/Saxophone/Clarinet/Trumpet/Violin/Flute

OR

2.2 Instrument: Guitar/Saxophone/Clarinet/Trumpet/Violin/Flute




Quality - Quality of melody

and suitability for chosen instrument

- Appropriateness of tempo, articulation and dynamic indications

- Musicality

9–10

Excellent Coherent and musical; phrases imaginatively define the form; opening motif innovatively continued; successful use of tonality; melodic shape masterfully handled; creative approach to choice of pitches and rhythm

10

7–8

Good Correct and musical; phrases clearly indicate the form; opening motif sensibly continued; stable tonality; melodic shape satisfying; choice of pitches and rhythm accurate

4–6

Average Musically not convincing; not all phrases clear; opening motif not well utilised; tonality unstable; melodic shape is suspect; choice of pitches and rhythm unimaginative

0–3

Not acceptable No musical sense; no sense of phrasing; opening motif ignored; no sense of tonal centre; no melodic shape; pitches and rhythm random

TOTAL Markers may use ½ marks 15


Form and cadential points 1 mark per phrase x 3 3


Minus ½ mark per error to a maximum of 2 marks 2

[15]



QUESTION 3 (10 minutes) Answer EITHER QUESTION 3.1 OR QUESTION 3.2. 3.1 Study the adapted extract from the Piano Sonata in D, Op. 28 by Beethoven

below and answer the questions that follow.

Answer:

3.1.1 The piece modulates from bar 10–12. Indicate the new key in the

space on the score. Answer: A major

(1)

3.1.2 Figure chords (a)–(g) in the spaces on the score. Indicate the key,

chord and position in each case, for example C: iiib/iii6

Answer: See score

1 mark per chord = 7 marks (Minus ½ mark for each error) (If the 7th is missing award only ½ mark)

(7)

or D: vi6



3.1.3 Name the type of non-chordal notes at (i) and (ii).

Answer: (i) Suspension (Retardation) (ii) Anticipation

1 mark each = 2 marks (No ½ marks)

(2) [10]

OR

3.2 Study the extract from Second Hand Rose by James F Hanley below and

answer the questions that follow.

Answer:

3.2.1 Name the main key of this piece.

Answer: F major = 1 mark

(1)

Cdim/A or



3.2.2 Identify chords (a)–(g) and write the chord symbols in the spaces

above the stave on the score, e.g. D/A. Answer: See score 1 mark per chord = 7 marks If the answer is correct but incomplete, ½ mark can be awarded Roman numerals will not be accepted

(7)


Answer: (i) (Lower) Auxiliary note (ii) Passing note

1 mark each (No ½ marks)

= 2 marks

(2) [10]



QUESTION 4 (30 minute) 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.

Concept answer:


DESCRIPTION MARK ALLOCATION Chord progression Choice of chords, correct use of cadence

1 mark between each pair of chords (except between bar 4 and 5) 12

Correctness Notation, doubling, spacing, voice leading

Minus ½ mark per error but not more than 1 mark per chord 14


• Excellent • Good • Average • Weak • Unacceptable

= 3½–4 marks = 2½–3 marks = 1½–2 marks = ½–1 mark = 0

4

Note to marker: Mark out of 30 must not contain a ½ mark

30 ÷ 2 = 15

TOTAL 15 Candidates must be credited for different/creative and correct harmonisation not given in the memorandum. The figuring serves as a guide for the marker, but no marks are allocated for the symbols as such.

OR



4.2 Complete the piece below by adding suitable harmonic material on the open

staves. Continue in the style suggested by the given material in bar 1.

Concept answer:

The harmonic material will be marked according to the following criteria:

DESCRIPTION MARK ALLOCATION Chord progression Choice of chords, correct use of cadence

1 mark between each pair of chords (except between bar 4 and 5) 12




• Excellent • Good • Average • Weak • Unacceptable

= 3½ –4 marks = 2½ –3 marks = 1½ –2 marks = ½ –1 mark = 0

4


30 ÷ 2 = 15

TOTAL 15 Candidates must be credited for different/creative and correct harmonisation not given in the memorandum. The chord symbols serves as a guide for the marker, but no marks are allocated for the symbols as such.

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). Candidates must answer ALL the questions in the ANSWER BOOK provided.

Note to marker: One mark will be allocated for each correct fact. Candidates must be credited for any correct answer not given in the memorandum.

SECTION B: GENERAL (COMPULSORY) QUESTION 5 5.1 5.1.1

5.1.2 5.1.3 5.1.4 5.1.5 5.1.6 5.1.7 5.1.8 5.1.9 5.1.10

B C C B D A B D C B

(10 x 1) 1 mark for each correct answer = 1 mark

(10)

5.2 • Type-sets music in written form (notation)

• Reproduces the type-set music as a score • Obtains copyright permission from SAMRO • Pays royalties to copyright owner or SAMRO • Secures commissions for new works • Distributes scores for retail purposes • Does promotion of all published material • Securing publishing contracts • Sources recording artists for scores that they control • Clearance of material to prevent copyright infringement Any THREE correct answer = 3 marks

(3)



5.3 A license required by SAMRO that allows songs, live music, recordings, etc.

to be played at radio stations, television stations, public venues, etc.

1 mark

(1)

5.4 From the date of completion of the work, to 50 (70) years beyond the date of

the passing away of the author/composer/songwriter

1 mark If candidate states 50/70 years only = 1 mark

(1)

5.5 5.5.1

5.5.2 5.5.3 5.5.4 5.5.5

B E/F D A C

Correct facts = 5 marks

(5)

TOTAL SECTION B: 20





6.1 • Clarinet

• French Horn • Trumpet • Double bass Any TWO correct answers = 2 marks

(2)

6.2 6.2.1

6.2.2 6.2.3

Sonata form Free form or Episodic form or No form Sonata form (Fugue)

1 mark each = 3 marks

(3)

6.3 6.3.1

6.3.2 6.3.3 6.3.4 6.3.5

Overture Libretto Aria Chorus Opera Buffa


(5) [10]

QUESTION 7 7.1 Exposition Recapitulation

• Ends with a codetta • Ends in relative (V) key • Section is usually repeated (repeat

sign) • Modulatory bridge passage • 2nd theme in Dominant/Relative key • May start with introduction • Development follows the Exposition

• Ends with a coda • Ends in Tonic key • No repeat of this section • Non-modulating bridge

passage • 2nd theme in Tonic key • Without introduction • Recapitulation preceded by

Development Any THREE differences = 3 marks

(3)



7.2 • Minuet en Trio – Minuet: ab/aba Trio: cd/cdc Minuet: ab/aba OR Minuet: AA BA; Trio: CC DC; Minuet: AA BA

• Scherzo and Trio - Scherzo; AA BA; Trio: CC DC; Scherzo: AA BA Form = 1 mark Schematic representation = 1 mark

(2)

[5] QUESTION 8 • Feeling of a threatening storm – use of key (f minor) • General violence of the storm – Allegro tempo indication • Full force of the storm – extreme dynamics/changes in dynamics • Low rumbles and warning of the approaching storm - pp tremolo in linking passage

between 3rd and 4th movement • First big roll of thunder - use of timpani together with the low quintuplets in the

cellos and quadruplets in the basses • First raindrops - pp staccato quavers in the opening section • Building tension and excitement of storm - ff tremolo arpeggios in upper

strings/chromatic bass line • Terror of storm – use of piccolo with shrill high notes/diminished chords • Climax of storm – use of two trombones to intensify and darken timbre/mood • Lightning - Arpeggiated darting figures in strings • Low rumbles at the end – triplet figures in double bass to indicate the gradual

departure of the storm

Any FIVE correct answers = 5 marks Each programmatic feature must be linked to a musical representation

[5] QUESTION 9 9.1 Standard Classical Orchestra (1) 9.2 9.2.1

9.2.2 9.2.3 9.2.4

Violins (1st violins, 2nd violins), violas, cellos, double basses (name at least two = ½ mark) 2 flutes, 2 oboes, 2 clarinets, 2 bassoons (name at least two = ½ mark) 2 French horns, 2 trumpets 2 timpani

(1) (1) (1) (1)

1 mark per section

Name at least two instruments for strings, woodwind and brass = 1 mark per section; 1 mark for Timpani

[5]



QUESTION 10 Tamino: Dies Bildnis ist bezaubernd schön (This likeness is enchantingly lovely) Character linked with title of aria = 1 mark

CHARACTERISTICS DEPICTION IN ARIA

• Royal, noble and enlightened (Masonic) character

• Eb major ('royal' key) • Larghetto tempo

• Heroic character • Lyric tenor • Inspired resolve, bravery, persistence

and determination • Slow expressive melodic line

• Tamino's surging emotions • Interval of an ascending major 6th • Sparse orchestral accompaniment

contrasted with surges in sound • Sfp or forte at climax points • Crescendos

• Love theme (personal connection) • Yearning to win the love of Pamina

• Clarinets in thirds • Slow tender melody

e.g. appoggiaturas, leaps legato, soft dynamic level, irregular phrases (at start of aria)

Any 2/3 characteristics matched to 3/2 depictions in the aria = 5 marks

Papageno: Der Vogelfänger bin ich ja (The bird catcher am I) Character linked with title of aria = 1 mark

CHARACTERISTICS DEPICTION IN ARIA

• Birdcatcher • Musical motif played on pan flute to attract birds

• Motif used 6 times to reinforce musical connection to his profession

• Comic character, entertaining the audience

• Baritone • Major key • Uses melodic decoration

• Simple, carefree, peasant character • Sings folk-like melody • Simple, diatonic harmony • Sparse orchestral accompaniment • Clear phrasing • Strophic form • Homophonic texture

Any 2/3 characteristics matched to 3/2 depictions in the aria = 5 marks




CRITERIA MARK ALLOCATION

Tamino: 3 characteristics matched to 3 depictions in the aria = 6 marks

6

Papageno: 3 characteristics matched to 3 depictions in the aria = 6 marks 6

Logical presentation and structure of the essay

Excellent An introduction, conclusion, with a substantial argument in the body of essay evident.

= 3 marks

3

Good An introduction, conclusion, with a reasonable argument in the body of essay evident.

= 2 marks

Average An introduction, conclusion, with an insignificant argument in the body of essay evident.

= 1½ marks

Below average An introduction, conclusion with a weak argument in the body of essay evident.

= 1 mark

Weak A single paragraph. A poor attempt at an essay.

= ½ mark

Not acceptable Only facts in bullet form. = 0 marks

TOTAL 15

[15]

TOTAL SECTION C: 40

OR



SECTION D: JAZZ QUESTION 11 11.1 • Dance music with cyclic structure/repeated harmonic progression

• Piano-based music influenced by ragtime with guitar and banjo often included

Any TWO correct facts = 2 marks

(2)

11.2 • His music blends elements of Ghoema, Kaapse Klopse, church bands,

langarm, African and Western music, which is typical of Cape Jazz • His recordings reflect the langarm (Cape dance bands) sound where the

saxophone melody is played with nasal tone and vibrato accents on ends of phrases

• Use of 17th century characteristics (harmonic progressions) blended with jazz features (e.g. blues and improvisation), typical of Cape Jazz

• Cape Jazz is influenced by township jazz (Marabi, Kwela and Mbaqanga) and this is evidenced in his various compositions e.g Mannenberg, which has o a Marabi groove and harmonic progression o a slow ghoema drum beat o langarm sounding saxophones o extended jazz improvisation

• Folk-like and hymn-like melodic and harmonic construction e.g. The Wedding

Any FOUR correct facts = 4 marks

(4) 11.3 11.3.1

11.3.2 11.3.3 11.3.4

Guitar/Voice Pennywhistle Piano Trumpet


(4) [10]



QUESTION 12 • Mbaqanga developed from a blending of cultures when people migrated to work in

the cities due to the Land Act, 1913 (Act 27 of 1913) • Zulu traditional music combined with township music (Marabi and Kwela) • Uses cyclical structure of Marabi and rhythms influenced by Kwela • Unlike kwela which relied on the pennywhistle, Mbaqanga uses many instruments

prevalent in popular music • Zulu Indlamu dance rhythms used • Started as an instrumental genre but gained popularity with the introduction of

isimanjemanje and umgqashiyo (vocal Mbaqanga)

Any FIVE correct facts = 5 marks

[5]



QUESTION 13 Zim Nqawana • Fuses traditional ancient Xhosa (and other African) rhythms, melodies and

harmonies with his interpretation of modern Jazz • Jagged melodic lines, irregular harmonic rhythms show progressive approach to

phrasing and cadence • Avant-garde approach to music in that saxophone improvisation often becomes

atonal and free • Influenced by Abdullah Ibrahim’s compositional styles and techniques, in the way

he combines African melodies with Western church harmony • Music contains elements of bop, funk, Indian and Western classical music, samba,

tango and vocal chants • Highly percussive and often dance-like • Strong emphasis on improvisation • Influenced by the folk traditions of Norway through his collaborations with

Norwegian musicians Hit/Album • eBhofolo • San Song • Zimology • Ingoma • Zimphonic Suites • Vadzimu

Style characteristics: any FOUR correct facts = 4 marks Hit/Album = 1 mark (Any correct hit/album can be accepted)

[5]

OR Sakhile • Traditional African roots • Use of Western instruments, e.g. electric guitar • Mixture of jazz and traditional African music • Glimpses of township music (Kwela and Mbaqanga) • Lyrics depict the political atmosphere of the 1980s • Mbaqanga guitar style employed (use of melodic ostinato and highly rhythmic

chordal strumming) • Employs a commercial sound (use of electric instruments common to popular

music) • Influence of Malombo style through the introduction of Malombo drums and rhythms

by the percussionist Mabe Thobejane • Use of repetitive melodic and rhythmic motifs • Often used traditional dancers during their performances • Influenced by jazz fusion of Miles Davis (use of electric instruments and rock

rhythms)



Hit/Album • Sakhile • Isililo • Togetherness • New Life • I Need Your Touch • We Come Together


[5]

OR

Spirits Rejoice • Jazz-fusion band using a combination of jazz and rock instruments and music • Incorporates many styles:

o Jazz and traditional African music (rhythmic repetition) o Free jazz mixed with jazz rock (emphasis on the second and the fourth beats) o Popular music and jazz (pop album and covers) o American and African jazz (12-bar blues chord cycle) o Latin American and African jazz (Bossa Nova beat)

• Contains elements of 'smooth jazz' emerging in the 1980s • Often uses repetitive hymn-like harmonic and melodic motifs • Use of rock rhythms and jazz melodic and harmonic content • Jazz based improvisation built upon the harmonic structures of the songs • Strong horn section (saxophones, trumpets, flutes and trombones) featured

Hit/Album • Joy • I'm So Strong Now • Shine On • Emakhaya • Joy • Spirits Rejoice


[5]



QUESTION 14 • The Mahotella Queens/Dark City Sisters/Flying Jazz Queens are South African

female vocal groups • These groups come from a Marabi background • Contributed to Mbaqanga's development • Noted for their distinct vocal harmony sound • Popularised vocal Marabi/Mbaqanga (Umqgashiyo and Isimanjemanje) • Guitar-led mbaqanga music • Fast-paced stage dancing (Zulu traditional indlamu)

• Type of jive music • Fuses Zulu traditional music with township music (Marabi and Kwela) • Featuring up-tempo songs with harmonies by females, sometimes combined with

powerful male bass lead vocal

Any FIVE correct facts = 5 marks Maximum 1 mark for naming of female group(s)

[5]



QUESTION 15 Musical Origins • Kwela was prevalent in the 1950s in Sophiatown • Roots of Kwela can be found in:

o American Jazz o Boogie-Woogie o Marabi

• The pennywhistle became a popular choice of instrument, due to the following: o It was similar to the many different flutes found in traditional music (like the

traditional three-holed flute used by cattle herders) o It was a cheap/affordable and portable instrument o It could be used as both a solo and ensemble instrument

• Individual street performance and busking were common

Any THREE origins = 3 marks

Social value • Seen as a symbol of resistance against oppression • Street performers could use their pennywhistles to warn others of the arrival of the

police • The popularity of Kwela brought global attention to South Africa and helped make

the world aware of the political conditions of apartheid South Africa • The pennywhistle was a link to the traditional reed instruments (flutes) of the

indigenous cultures Any TWO social values = 2 marks

Musical features • Cyclic chord structure • Chord progressions: I – IV – I6/4 – V or I – IV – V – I • The ensemble often consists of a solo player with accompanying band • Moderate to upbeat tempo • Skiffle-like beat • Jive/Swing rhythms • Weaved a secondary melodic line around the main tune • Melodic material developed in improvisation • Pennywhistle used initially as lead instrument • Saxophone substitutes pennywhistle as lead instrument • Accompanied by guitar(s) and drums initially

Any FIVE musical features = 5 marks

Artist and Hit/Album • Spokes Mashiane – Banana ba Rustenburg, Phata, Phata • Lemmy Mabaso – See you later • Elias Lerole – Mafikeng Any correct hit/album Any correct artist

= 1 mark = 1 mark




CRITERIA MARK ALLOCATION Musical Origins 1 mark for each correct fact X 3 3 Social values 1 mark for each correct fact X 2 2 Musical features 1 mark for each correct fact X 5 5 Artist and Hit/Album 1 mark for each correct fact X 2 2



= 3 marks

3


= 2 marks


= 1½ marks


= 1 mark


= ½ mark


TOTAL 15

[15]

TOTAL SECTION D: 40

OR




16.1 • Mbaqanga, also known as township jive is dance music that combines

traditional elements and jazz that developed in the townships during the 1960s

• Mixes American jazz, Mbube, Kwela and Marabi music: main instruments include accordion, violin, pennywhistle and saxophone, backed by electric bass, drums and keyboards/guitars


(2)

16.2 • Blend between traditional music and cultural themes (African spirituality,

ancestral communication) • Interplay of African drums and hand percussion with unique guitar

(combination of Marabi, Mbaqanga and jazz styles) and flute sounds reminiscent of traditional reed instruments)

• African rhythms provided by the bongo and Malombo drums • Fusion of musical traditions of the baPedi and vhaVenda with jazz • Polyrhythmic use of traditional drums Any FOUR correct facts = 4 marks

(4)

16.3 16.3.1

16.3.2 16.3.3 16.3.4

Maskandi Isicathamiya Mbaqanga Free Kiba/Malombo


(4) [10] QUESTION 17 • Izibongo is a type of self-praise which the musician recites while playing a musical

instrument • The main purpose of the recitation is to introduce (to greet) the performer • The performers usually recite their own praise names • Izibongo usually comes in the middle of a Maskandi song • Spoken in a fast tempo • Poetry features such as repetition, parallelism and imagery are used • Historical incidents and memorable achievements may also be included • Izibongo is used to transmit social consciousness while also entertaining Any FIVE correct facts = 5 marks

[5]



QUESTION 18 • baPedi instruments now used in conjunction with Western instruments (rhythm

section) • Uses any African language in addition to Sepedi • The music is not exclusive to a specific group, any skilled musician can perform it • Kiba has become commercially accessible as Free Kiba • It is performed over standard contemporary drumbeat style • Contemporary African traditional clothes worn during performance instead of the

traditional baPedi clothes • Tonality is mostly major instead of pentatonic • Traditional Kiba pipes not used exclusively Any FIVE correct facts = 5 marks Any relevant characteristics on Free Kiba

[5] QUESTION 19 General • A cappella singing • May be accompanied • Male choir ensemble ranging in size from 8 to 20 singers • Formal dress/attire is an important feature • TTBB singing • Steeped in rural Zulu culture • Lyrics in isiZulu • Call and response singing between the leader and the group • Improvisational character • Close connection between performing musicians and audience/Audience

participation is encouraged • Ukucothoza dance style (dance on tip-toes/walk like a cat) Leader • Introduces the choir member to the audience • Musical introduction in free time • Praise poetry (izibongo) of leader happens anywhere in the performance Any FIVE correct facts = 5 marks

[5]



QUESTION 20 Social context • African music plays a functional part in all important stages of a person's life e.g.

birth, puberty, initiation, marriage and death • Spontaneous involvement with the community's musical life is encouraged • Musical performances usually occur in outdoor settings • Performers and audience members often make music together • Music is often a communal activity instead of an individual endeavour • The music is ethnically distinctive • The language used in a song often varies from the language used in ordinary

conversation


Typical musical elements: Rhythmic features • Rhythm is derived from spoken text • Use of ostinato patterns is common • Melo-rhythm used extensively • Interlocking polyrhythms are commonly used • The beat (metre) can be regular or irregular depending on the meaning of the music • Most of the material is improvised • Emphasis is on rhythm rather than on melody • Repetition is used as an organising principle • Improvisation is done over repetitive structure

Form and Texture • Call-and-response where soloist presents the call and the group (choir) give the

response o Response comes after the call with a different melody and text o Response can begin before the call ends (overlapping)

• Call and refrain where the soloist sings the entire verse and the chorus repeats it • Litany – one or two phrases are repeated over and over • Additive form – new section appears as the song/piece unfolds (Episodic form) • Crepitation, ululation and body percussion create an additional layer Melody and harmony • Based on principles of homophonic parallelism (in 3rds, 4ths, 5ths and 8ves) • Homophonic polyphony (independent parts moving together)

o Counter-melody (secondary melody) o ostinato-variation (variations based on a repeated theme)

• Instrument/voice can often be manipulated to produce simultaneous sounds

(overtones) • Overlapping choral antiphony and responsorial singing are principal types of

African polyphony (call and response) • Parallel intervals are additional polyphonic techniques frequently employed • Chords constructed from pentatonic and hexatonic scales Any SEVEN correct facts = 7 marks


Copyright reserved


CRITERIA MARK ALLOCATION Social context 1 mark for each correct fact x 5 5 Typical musical elements 1 mark for each correct fact x 7 7



= 3 marks

3


= 2 marks


= 1½ marks


= 1 mark


= ½ mark


TOTAL 15

[15]

TOTAL SECTION E: GRAND TOTAL:

40 120

MUSIC P1

2018

QUESTION PAPER


MARKS: 120 TIME: 3 hours CENTRE NUMBER:

EXAMINATION NUMBER:

This paper consists of 22 pages and 1 page of manuscript paper.

GRAAD 12

MUSIC P1

NOVEMBER 2018


GRADE 12




This question paper consists of FIVE sections, namely SECTIONS A, B, C, D and E. SECTIONS A and B are COMPULSORY. 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. 5. 6.


7. 8. 9. 10.

The last page of this question paper is manuscript paper intended for rough work. Candidates may remove this page. Candidates may NOT have access to any musical instrument for the duration of this examination. Candidates must take note of the mark allocation for each question to provide enough information in their answers. Write neatly and legibly.



MARKING GRID


1 20

2 15

3 10

4 15

SUBTOTAL 60



5 20

SUBTOTAL 20

AND C: WAM 6 10

7 5

8 5

9 5

10 15

SUBTOTAL 40

OR D: JAZZ 11 10

12 5

13 5

14 5

15 15

SUBTOTAL 40

OR E: IAM 16 10

17 5

18 5

19 5

20 15

SUBTOTAL 40

GRAND TOTAL 120



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 and answer the questions that follow.



1.1 Name the submediant minor key of this piece. ________________________ (1) 1.2 Name the related dominant major key of this piece. ____________________ (1) 1.3 Name the intervals at (a) and (b) according to type and distance.

(a) __________________________________________________________ (b) __________________________________________________________

(2)

1.4 Transpose the bass part of bar 1 at X a perfect 5th lower. Insert the new key

signature.

(3) 1.5 Describe the triads at (c) and (d) according to type and position.

(c) ___________________________________________________________ (d) ___________________________________________________________

(2) 1.6 Halve the note values and rewrite the bass clef part at Y in bar 4. Insert the new

time signature.

(3) 1.7 Complete the melody below by writing ascending sequences as indicated.

(4)



1.8 Select the scale/mode on which EACH of the following TWO extracts is based.

Make a cross (X) in the appropriate block.

1.8.1

(1) Major scale

Dorian mode

Mixolydian mode

Blues scale

Whole-tone scale

1.8.2

(1)

F# major Dorian mode

Chromatic scale Db minor Whole-tone

scale

1.9 Write the F# melodic minor scale ascending and descending, without a key

signature, in the given clef. Use only semibreves and indicate the semitones.

(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 and supply a suitable tempo indication. Add dynamic and articulation indications where applicable.

Instrument: __________________________ Tempo: __________________________



CANDIDATE'S MARKS


Correctness Note stems, beats per bar, accidentals, spacing, layout 2

Quality Suitability, musicality, dynamics, articulation, tempo indication

10

TOTAL 15

[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 and supply a suitable tempo indication. Add dynamic and articulation indications where applicable.

Instrument: __________________________ Tempo: __________________________



CANDIDATE'S MARKS



Quality Suitability, musicality, dynamics, articulation, tempo indcation 10

TOTAL 15

[15]



BLANK PAGE





3.1 Study the extract and answer the questions.

Key:___ ____ ____ Cadence: ________________



3.1.1 Name the new key to which the piece modulates in bars 5–8.

Write the answer on the score.

(1) 3.1.2 Figure the chords at (a)–(e) with Roman numerals on the score,

e.g. iii6/iiib.

(5) 3.1.3 Identify the cadence at (f) in bars 12–13 on the score. Indicate the

key and figure the chords with Roman numerals.

(2)

3.1.4 Name the type of non-chordal notes at (i) and (ii). (i) (ii)

(2) [10]

OR



3.2 Study the extract and answer the questions that follow.

Cadence: ________________________



3.2.1 Identify the chords (a)–(e) and write chord symbols in the spaces

provided on the score, e.g. Bb/D.

(5)

3.2.2 Name the types of non-chordal notes at (i)–(iii). (i)

(ii)

(iii)

(3)

3.2.3 Name the cadence which is formed in bars 12–13 on the score. Indicate the chord symbols at (f) and (g).

(2) [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.



CANDIDATE'S MARKS

Chord progression Choice of chords, correct cadence 12


Quality Musicality, non-chordal notes, awareness of style, creativity, e.g. use of cadential 6/4 and passing 6/4 progressions

4

TOTAL 30(÷ 2) = 15

[15]

OR



4.2 Complete the piece below by adding suitable harmonic material in the open

spaces on the stave. Continue in the style suggested by the given material in bars 1 and 2.



CANDIDATE'S MARKS

Chord progression Choice of chords, correct cadence 12



4

TOTAL 30(÷ 2) = 15

[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–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 FOUR main elements of music are … A

B C D

technique, rhythm, tempo, melody. timbre, rhythm, harmony, melody. tuning, timbre, harmony, melody. bass line, rhythm, imitation, melody.

5.1.2 Syncopation is associated with the element of … A

B C D

dynamics. texture. rhythm. All the above-mentioned

5.1.3 The element melody is associated with … A

B C D

register. range. pitch. All the above-mentioned

5.1.4 A texture that has several prominent melodies sounding at the same

time is …

A

B C D

monophonic. polyphonic. homophonic. None of the above-mentioned

5.1.5 The specific quality of a musical sound played by a particular

instrument is known as …

A

B C D

texture. melody. pitch. timbre.



5.1.6 A very loud dynamic level in music is … A

B C D

prestissimo. forte. mezzo piano. fortissimo.

5.1.7 Which ONE of the following terms is the ODD ONE OUT? A

B C D

Meno mosso Ritardando Rallentando Morendo

5.1.8 'Intro' is short for … A

B C D

instrumentation. introduction. introspection. intermezzo.

5.1.9 Singing more than one note to a syllable of the text is called … A

B C D

a cappella. cantabile singing. a melisma. scat singing.

5.1.10 Swing rhythm is a performance style whereby the first quaver in

a group of two quavers is …

A

B C D

shortened and the second quaver lengthened. lengthened and the second quaver shortened. played non-legato. None of the above-mentioned (10 x 1)

(10)



5.2 Choose a description from COLUMN B that matches an item in COLUMN A.

Write only the letter (A–E) next to the question numbers (5.2.1 to 5.2.5) in the ANSWER BOOK, e.g. 5.2.6 F.

COLUMN A COLUMN B

5.2.1 5.2.2 5.2.3 5.2.4 5.2.5

Performance rights Mechanical rights Needletime rights Royalty Copyright

A B C D E

payment to composers whenever their music is copied on any kind of recording device payment to composers whenever their music is performed in public payment to the owner for using copyrighted works the ownership that a songwriter or composer has of his/her music payment to recording artists when their songs are played on the radio

(5 x 1) (5) 5.3 Name FIVE role-players in the music industry who play a part in the

production of a song.

(5) [20]

TOTAL SECTION B: 20





6.1 Name TWO transposing wind instruments found in the standard Classical

orchestra.

(2) 6.2 State which woodwind instrument is found in the Classical orchestra, but not

in the Baroque orchestra.

(1) 6.3 Give the name and number of instruments in the percussion section of the

standard Classical orchestra.

(1) 6.4 Write down THREE differences between a coda and a codetta, when referring

to sonata form.

(3) 6.5 Give the musical terms or symbols for the following types of articulation: 6.5.1 Short, detached notes (1) 6.5.2 A note that is held longer than its full value (1) 6.5.3 A sharp emphasis on a specific note (1) [10] QUESTION 7 7.1 Study the extract below and identify the aria from The Magic Flute by Mozart.

(1) 7.2 Write a short paragraph on this aria. (4)

[5] QUESTION 8 Discuss the contribution that the Mannheim school made to orchestral music. [5]



QUESTION 9 Beethoven is often seen as a bridging figure between the Classical and Romantic styles. Describe the Romantic features that are found in his Pastorale Symphony No. 6 in F Major. Refer only to his use of instrumentation and dynamics.

[5]

QUESTION 10 Write an essay on Mendelssohn's Hebrides Overture. 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:

CRITERIA MARK ALLOCATION Origin 3 Form 3 Instrumentation/Orchestration 3 Style 3 Logical presentation and structure of the essay 3 TOTAL 15

[15]

TOTAL SECTION C: 40

OR



SECTION D: JAZZ QUESTION 11

11.1 Name ONE transposing instrument found in a big band. (1) 11.2 Which TWO instruments are commonly used in a backing band in

mbaqanga?

(2) 11.3 Describe TWO differences between popular song form and blues form. (4) 11.4 Give the musical terms for the following descriptions: 11.4.1 Music created in the moment of performance, without written

scores

(1) 11.4.2 Spontaneous accompaniment played on piano or guitar (1) 11.4.3 Chord replacement or re-harmonisation (1) [10] QUESTION 12 Describe malombo music and name an artist/band associated with it. [5] QUESTION 13 Write a paragraph in which you discuss the use of instruments in EITHER marabi OR kwela music.

[5]

QUESTION 14 Describe typical characteristics of the melody in the music of ONE of the following artists and give ONE example of a relevant work:

• Abdullah Ibrahim • Robbie Jansen • Winston Mankunku Ngozi

[5]

QUESTION 15 Discuss mbaqanga music. Refer to reasons for its rise in popularity. Comment on style characteristics and give examples of artists that are associated with this style.


CRITERIA MARK ALLOCATION Reasons for popularity 3 Style characteristics 7 Artists 2 Logical presentation and structure of the essay 3 TOTAL 15

[15]

TOTAL SECTION D: 40

OR




16.1 Name TWO instruments used in tshikona. (2) 16.2 Which woodwind instrument is used in a malombo band? (1) 16.3 Name ONE instrument commonly used in the backing band in mbaqanga. (1) 16.4 Describe THREE differences between indlamu dance and mokhibo dance. (3) 16.5 Give the musical term for the descriptions below: 16.5.1 A long, wavering, shrill, high-pitched vocal sound (1) 16.5.2 A quick, spoken part done by a Zulu praise singer (1) 16.5.3 The musical instrument classification for an uhadi (1) [10] QUESTION 17 Kiba is an indigenous music tradition of the baPedi people. How did artists, such as Sello Galane, transform the traditional kiba into the modern style known as free kiba?

[5]

QUESTION 18 How did Phillip Tabane make malombo music popular? [5] QUESTION 19 Discuss the role of music and movement in African divinity. [5] QUESTION 20 Discuss maskanda music. Refer to the role of the guitar, the style of singing and izihlabo.


CRITERIA MARK ALLOCATION Playing techniques on the guitar 3 Tuning of the guitar 2 Style of singing 5 Izihlabo 2 Logical presentation and structure of the essay 3 TOTAL 15

[15] TOTAL SECTION E: 40

GRAND TOTAL: 120


Copyright reserved

MUSIC P1

2018

MEMO


MARKS: 120

These marking guidelines consist of 28 pages.

GRAAD 12

MUSIC P1

NOVEMBER 2018

MARKING GUIDELINES


GRADE 12


Copyright reserved



4. 5. 6.


7. 8. 9. 10.




MARKING GRID


1 20

2 15

3 10

4 15

SUBTOTAL 60



5 20

SUBTOTAL 20

AND C: WAM 6 10

7 5

8 5

9 5

10 15

SUBTOTAL 40

OR D: JAZZ 11 10

12 5

13 5

14 5

15 15

SUBTOTAL 40

OR E: IAM 16 10

17 5

18 5

19 5

20 15

SUBTOTAL 40

GRAND TOTAL 120



1.1 Name the submediant minor key of this piece. Answer: F (minor) 1 mark (1) 1.2 Name the related dominant major key of this piece:

Answer: Eb (major) 1 mark (1) 1.3 Name the intervals at (a) and (b) according to type and distance. Answer:

(a) Compound Perfect 5th/Perfect 12th (b) Minor 3rd

(a) 1x1 = 1 mark (b) 1x1 = 1 mark No ½ marks

(2)

1.4 Transpose the bass part of bar 1 at X a perfect 5th lower. Insert the new key

signature.

Answer:

Correct key signature = 1 mark Notation: Minus ½ mark per error = 2 marks No marks deducted for missing time signature

(3) 1.5 Describe the triads at (c) and (d) according to type and position. Answer:

(c) Minor, First inversion (d) Minor, Root position

2x½ = 1 mark 2x½ = 1 mark

(2)

1.6 Halve the note values and rewrite the bass clef part at Y in bar 4. Insert the

new time signature.

Answer:

OR

Time signature Notation

= 1 mark = Minus ½ mark per error = 2 marks

(3)



1.7 Complete the melody below by writing ascending sequences as indicated. Answer:

Motif A = 2 marks Motif B = 2 marks Minus ½ mark per error up to a maximum of 2 marks per sequence. (Sequences that start on other notes can also be correct)

(4)

1.8 Select the scale/mode on which each of the following TWO extracts is based.

Make a cross (X) in the appropriate block.

1.8.1 Answer: Dorian mode 1 mark (1) 1.8.2 Answer: Whole-tone scale 1 mark (1) 1.9 Write F# melodic minor scale ascending and descending without key signature

in the given clef. Use only semibreves and indicate the semitones.

Answer:

Ascending = 1 mark Descending = 1 mark Minus ½ mark per error to a maximum of 1 mark for ascending and 1 mark for descending Minus ½ mark if written with key signature

(2)

[20]





2.1 Complete the opening below to form a twelve-bar melody in ternary form for any single-line melodic instrument of your choice. Name the instrument and supply a suitable tempo indication. Add dynamic and articulation indications where applicable.

Concept answer: Instrument: Saxophone/Clarinet/Trumpet/Violin/Flute/Oboe/Horn, etc.

Allegretto

OR




Concept answer: Instrument: Saxophone/Clarinet/Trumpet/Violin/Flute/Oboe/Horn, etc.

Allegretto


DESCRIPTION MARK ALLOCATION Form and cadential points 1 mark per phrase x 3 3 Correctness Note stems, beats per bar, accidentals, spacing, layout

Minus ½ mark per error up to 2 marks 2

Quality - Quality of melody and

suitability for chosen instrument

- Appropriate tempo, articulation and dynamic indications enhance the quality of the answer

- Musicality

9–10

Excellent Coherent and musical; phrases imaginatively define the form; opening innovatively continued; successful use of key; melodic shape masterfully handled; creative approach to choice of pitches and rhythm

10

7–8

Good Correct and musical; phrases clearly indicate the form; opening sensibly continued; stable key; melodic shape satisfying; choice of pitches and rhythm accurate

4–6

Average Musically not convincing; not all phrases clear; opening not well utilised; key unstable; melodic shape is suspect; choice of pitches and rhythm unimaginative

0–3

Not acceptable No musical sense; no sense of phrasing; opening ignored; no sense of key; no melodic shape; pitches and rhythm random

TOTAL Markers may use ½ marks 15

[15]

Imperfect cadence in D Perfect cadence in A/G/b Onvolmaakte kadens in D Volmaakte kadens in A/G/b

Imperfect cadence in D Perfect cadence in A/G/b Onvolmaakte kadens in D Volmaakte kadens in A/G/b






Answer:

Key: A: V vi Cadence: Interrupted/Deceptive Cadence

/Ic



3.1.1 Name the new key to which the piece modulates in bars 5–8.

Write the answer on the score.

Answer: See score 1 mark (1) 3.1.2 Figure the chords at (a)–(e) with Roman numerals on the score,

e.g. iii6/iiib

Answer: See score

1 mark per chord = 5 marks Minus ½ mark for each error regarding position

(5)

3.1.3 Identify the cadence at (f) in bars 12–13 on the score. Indicate the

key and figure the chords with Roman numerals.

Answer: See score ½ mark for key ½ mark for cadence ½ mark per chord = 1 = 2 marks

(2)


Answer (i) Passing note (ii) Auxiliary note/Neighbouring note

= 1 mark = 1 mark

(2) [10]

OR




Answer:

Cadence: Perfect cadence

(or A9)



3.2.1 Identify the chords (a)–(e) and write chord symbols in the spaces

provided on the score, e.g. Bb/D.

Answer: See score

1 mark per chord = 5 marks Minus ½ mark for each error regarding position No Roman numerals accepted

(5)

3.2.2 Name the types of non-chordal notes at (i)–(iii).

Answer:

(i) Suspension (ii) Auxiliary/Neighbouring note (iii) Passing note

= 1 mark = 1 mark = 1 mark

(3)

3.2.3 Name the cadence which is formed in bars 12–13 on the score. Indicate the chord symbols at (f) and (g).

Answer: Perfect cadence, E – Aadd2 (or A9) Cadence = 1 mark Each chord symbol = ½ mark

= 2 marks

(2) [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.

Concept answer:

I ii or IV


DESCRIPTION MARK ALLOCATION Chord progression Choice of chords, correct cadence

1 mark between each pair of chords (except between bars 4, 5 and 8) 12




Excellent = 3½–4 marks Good = 2½–3 marks Average = 1½–2 marks Weak = 0–1 mark

4


30 (÷ 2)

TOTAL 15

Candidates must be credited for a different/creative and correct harmonisation not given in the marking guidelines. The figuring serves as a guide for the marker, but no marks are allocated for the symbols as such.

OR



4.2 Complete the piece below by adding suitable harmonic material in the open

spaces on the stave. Continue in the style suggested by the given material in bars 1 and 2.

Concept answer:

The answer will be marked according to the following criteria:

DESCRIPTION MARK ALLOCATION Chord progression Choice of chords, correct cadence 1 mark between each pair of chords 14

Correctness Notation, spacing, voice leading



Excellent = 3½–4 marks Good = 2½–3 marks Average = 1½–2 marks Weak = 0–1 mark

4


30 (÷ 2)

TOTAL 15 Candidates must be credited for a different/creative and correct harmonisation not given in these marking guidelines. The figuring serves as a guide for the marker, but no marks are allocated for the chord symbols as such.

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).

Note to marker: One mark will be allocated for each correct fact. Candidates must be credited for any correct answer not given in these marking guidelines. Regardless of the fact that this marking guideline is constructed in bullet form, it is expected that the candidate answers the questions in paragraph/essay form where required.

SECTION B: GENERAL (COMPULSORY) QUESTION 5 5.1 5.1.1 B 5.1.2 C 5.1.3 D 5.1.4 B 5.1.5 D 5.1.6 D 5.1.7 D 5.1.8 B 5.1.9 C 5.1.10 B (10) 5.2 5.2.1 B 5.2.2 A 5.2.3 E 5.2.4 C 5.2.5 D

FIVE correct answers = 5 marks (5) 5.3 • Song writer/composer

• Performer/singer/band member/session musician • Sound engineer • Editor/director • Recording engineer • Producer/recording company • Arranger • Lyricist

Any FIVE correct answers = 5 marks

(5)

[20]



TOTAL SECTION B: 20 Answer SECTION C (WAM) OR SECTION D (JAZZ) OR SECTION E (IAM).


6.1 • Clarinet

• French Horn • Trumpet

TWO correct answers = 2 marks

(2)

6.2 Clarinet 1 mark

(1) 6.3 Two

Timpani/Kettle drums = ½ mark = ½ mark

(1)

6.4 Codetta Coda

Where in the work

• Found at the end of the exposition

• Found at the end of the recapitulation

Key • Ends in a related key • Ends in the tonic key Function • Tail section as ending

and rounding off the exposition

• Tail section to end off the movement

Length • Usually a short section • Sometimes short, but often an extensive section

Structural function

• Usually in the form of a repeated (extended) cadence (in new key)

• New material introduced or previously stated material may be developed with extended cadence at the end

Any THREE correct correlated differences = 3 marks Candidates may answer in table format

(3)

6.5 6.5.1 Staccato or or 1 mark

(1)

6.5.2 Fermata or or 1 mark

(1)

6.5.3 Symbol: < or > or ^ or sf or subito f or sfz or rfz 1 mark

(1) [10]



QUESTION 7 7.1 In Diesen Heil'gen Hallen/Within these Hallowed Halls 1 mark

(1) 7.2 • Sung by Sarastro – a symbol of good

• Bass voice – reinforces stable attitude • Act 2 – contrasts with the Queen of the Night's vengeful second aria • Fairly slow tempo: Larghetto – to reinforce 'holiness' of the temple • Key: E major – to establish a positive, reassuring atmosphere • Form: 2 verses – simplicity of form reinforces calm, stable mood • Use of melismas • Mood: serious, calm and reassuring • Sarastro sings of love, duty and forgiveness / ideals of brotherhood • Instrumentation: 2 flutes, 2 bassoons, 2 horns, string section

FOUR correct facts = 4 marks Minus 1 mark for no paragraph format

(4)

[5] QUESTION 8 • Established the layout of the standard Classical orchestra • Arrangement of the standard Classical orchestra into 4 instrument groups • Each section of orchestra given a particular role • Large string section with violins playing the principle melody • Doubled instruments in woodwinds (excluding clarinet) as a binding/filling role • Woodwinds as melodic instruments • Restricted use of brass and percussion (two timpani) for the ff sections • Basso continuo was omitted • The bass part is given a stronger forward rhythmic drive • French Horns act as a harmonic binding agent • Introduced the four movement symphony • Performance techniques developed

o Tremolo o Sudden sfz o Opening arpeggios o Crescendos and decrescendos o Playing techniques: The rocket- and sigh-motives

Any FIVE correct facts Maximum of 2 marks for performance techniques

= 5 marks

[5]



QUESTION 9 Instrumentation • Increases number of instruments in orchestra • Use of timpani more for dramatic effect than for harmonic reinforcement • Piccolo adds colour to the exhilaration and tension • Trombones added for intensity and power of sound colour and range Dynamics • Greater range and extremes of dynamics are used than before (pp – ff)

o ff in tremolos of string passages o pp string passage at end of the symphony

• Sudden changes in dynamics for dramatic purposes e.g. fortepiano fp • More use of accents (sf) and climaxes • Extensive use of crescendi and decrescendi in successive 'waves' • Extended orchestration to increase dynamic possibilities

Any FIVE facts as long as both dynamics and instrumentation are included = 5 marks (Maximum of 4 marks if one aspect is omitted)

[5]

QUESTION 10 Answer: Origin • Composed as a result of a visit to Scotland – the Hebrides islands • Inspired by a cavern known as Fingal's Cave and the surrounding seascape,

even made sketches of the island • A boat ride to these islands had a huge impact on him • He wrote letters to his sister describing this emotional experience • Completed in 1830 (The Lonely Island), revised and renamed in 1833

Any THREE correct facts = 3 marks

Description of composition Form • Concert overture • An independent single movement work • Sonata form OR Allegro-Sonata form

o Exposition: B minor - D Major o Development: D Major o Recapitulation: starts in B minor; includes new material in bridge; 2nd subject in

B Major; extended Coda • The bridge passages are greatly extended Only 1 mark for keys Only 1 mark for facts about recapitulation Any THREE correct facts = 3 marks



Instrumentation/Orchestration • A work for standard Classical orchestra • Innovative orchestration resulted in new combinations of colour and mood e.g. use

of upper pedal points • No additional instruments as was the case in most other Romantic orchestral works • Both themes are played by the lower register instruments (cello, bassoon, viola) • Demands greater technical competence from the orchestral players • Instrumentation/orchestration contribute to the mood

o the murmur of the sea depicted by the tremolo in the strings o the crashing waves depicted by sforzandi chords for the orchestra tutti o the sea swells depicted by the movement of the opening theme played by cello,

viola and bassoon


Style • Use of chromaticism • Extreme dynamic contrasts • A dramatic symphonic work with programmatic content • Texture: Mostly homophonic • Tempo: Allegro moderato • Tempo fluctuations - rubato • Programmatic nature and sets a scene but does not tell a story


Logical presentation and structure of the essay = 3 marks


CRITERIA MARK ALLOCATION Origins 3 marks 3 Form 3 marks 3 Instrumentation/ Orchestration 3 marks 3

Style 3 marks 3



= 3 marks

3


= 2–2½ marks


= 1½ marks


= 1 mark

Weak A single paragraph: A poor attempt at an essay. = ½ mark


TOTAL 15

[15]

TOTAL SECTION C: 40




11.1

• Trumpet • Saxophone

Any correct answer = 1 mark

(1) 11.2 • Keyboard/organ

• Guitar • Bass guitar • Drum kit

Any TWO correct answers = 2 marks

(2) 11.3

POPULAR SONG FORM BLUES FORM 32 bars 12 bars (with lyrics in AAB form) AABA form/Verse and chorus One part form Diatonic chord progression e.g. A: I-vi-IV-V B: V7/vi - V7/ii - V7/V - V7

I7, IV7 and V7 in a 12-bar cyclic scheme (All chords have a minor seventh added) F7 (4 bars), Bb7 (2 bars), F7(2 bars), C7 (1 bar), Bb7 (1 bar), F7 (2 bars)

Two contrasting themes One theme Any TWO correct correlated differences 2 x 2 = 4 marks Candidates may answer in table format

(4)

11.4 11.4.1 Improvisation/Jamming 1 mark

(1) 11.4.2 • Comping

• Improvisational chordal accompaniment

Correct fact = 1 mark Improvisation will not be accepted as an answer

(1) 11.4.3 Substitution 1 mark

(1) [10]



QUESTION 12 Answer: Characteristics • A unique fusion of African jazz with rhythms and melodies of traditional vhaVenda

and baPedi music • Melodies, percussion and language derived from baPedi and vhaVenda cultures • Prominent use of African polyrhythms • African rhythms supplied by the bongo, malombo and meropa • Lyrical, lilting guitar and flute melodies are extensively used • Free jazz, blues and rock influences from North America • Guitar arrangements and improvisatory style are borrowed from musicians such as

Wes Montgomery and John McLaughlin • 12-bar blues structure employed in some compositions

Any FOUR characteristics = 4 marks

Artist/Band • Philip Tabane • Julian Bahula • Malombo Men • Malombo Jazz

Any ONE artist/band = 1 mark

[5]

QUESTION 13

Answer: Marabi • Both vocal and instrumental music • Primarily a keyboard style • Influenced by Duke Ellington (Afro-American fusion) • Other instruments: piano, pedal organ, guitar/banjo, bass guitar, percussion and

voice in a small instrumental ensemble • Voice and piano have melodic role • Songs often start with a brief introduction featuring the guitar or piano

OR Kwela • Instrumental music mostly • Guitar and banjo outline the chord progression and give rhythmic drive • The guitar plays the skiffle-like rhythm • Penny-whistle often used as lead instrument (saxophone added later) • Songs usually start with a pennywhistle introduction • Penny-whistle used as a warning signal during apartheid-era

Any FIVE facts = 5 marks Minus 1 mark for no paragraph format

[5]



QUESTION 14 Abdullah Ibrahim Melody • Folk-like melodies • Hymn-like/Chorale style • Ghoema/Cape Malay characteristics • Modal melodies • Extensive improvisational style • Melodies are often realised on the piano

Any FOUR correct facts = 4 marks Relevant example • Mannenberg, Soweto is where it's at, Tsakwe (Royal Blue)

Any correct example = 1 mark

[5] OR

Robbie Jansen Melody • Folk-like melodies • Khoisan/Cape Malay melodies interwoven with Malaysian/Indonesian melismatic

styles • Saxophone melody produced with a nasal tone with vibrato at the end of phrases • Lead-saxophone (alto) mostly plays the melody • Extensive improvisation for all instruments, blending various styles (eclectic)


Relevant example • Hoija Tjie Bonga, Tsakwe, Sommer Ghoema


[5] OR

Winston Mankunku Ngozi Melody • Lead-saxophone (tenor) plays the melody • Folk-like melodies • Khoi-Khoi and San melodies intertwined • Malaysian and Indonesian melismatic styles are fused • Extensive improvisation for all instruments, blending various styles • Call and response between lead saxophone and other instruments


Relevant example • Abantwana be Afrika, Crossroads


[5]



QUESTION 15 Reasons for popularity: • The very popular traditional Zulu Indlamu dance rhythms are prominently part of

mbaqanga and that is the reason that it is popular. The modern style mbaqanga is based on the traditional music

• The music style mbaqanga is associated with the popular staple food, 'maize bread' • A fusion of popular American jazz, mbube, kwela and marabi music caused more

people to be drawn to this mixed style • Introduction of Radio Bantu ensured that many musicians recorded their music for

airplay • The 'spirit of competition' around releasing new recordings made this style popular • One of the reasons why it became popular is that it was an easy way for musicians

to make a quick buck (money)

Any THREE reasons = 3 marks

Style characteristics • Use of both traditional and Western instruments • Fuses traditional and Western music elements • Electric guitar very important in mbaqanga, e.g. by Mahlathini and the Mahotella

Queens • Electronic organ more important in mbaqanga than in preceding styles of music,

e.g. the Soul Brothers • Sometimes a male-only vocal style: Soul Brothers • Usually starts with a brief guitar introduction

(or in the case of Soul Brothers, the introduction is done by the electronic organ) • Heavy bass line and rock beat are prominent features • Chord progression I – IV – V – I cycle over a bouncy 8/8 rhythm • Music has a repetitive character • Call and response used between the lead singer/guitarist and the backing

singers/band

Any SEVEN style characteristics = 7 marks

Artist/Band: • Mahlathini and the Mahotella Queens • Soul Brothers • The Cool Crooners • Makgona Tsohle Band

Any TWO artists/bands = 2 marks




CRITERIA MARK ALLOCATION Reasons for popularity 1 mark for each correct fact 3 Style characteristics 1 mark for each correct fact 7 Artists 1 mark for each correct fact 2



= 3 marks

3


= 2-2½ marks


= 1½ marks


= 1 mark

Weak A single paragraph: A poor attempt at an essay.

= ½ mark


TOTAL 15

[15]

TOTAL SECTION D: 40

OR




16.1 • vhaVenda drums

o Mbila mutondo o Mbila dzamedza o Ngoma

• Tshikona pipes

Any TWO instruments = 2 marks

(2)

16.2 Flute 1 mark

(1) 16.3 • Keyboard/organ

• Guitar • Bass guitar • Drum kit Any correct answer = 1 mark

(1)

16.4 Indlamu Mokhibo

amaZulu dance baSotho dance Fast and energetic Can be moderate and calm

Uses mostly the lower body and includes stomping of feet

Uses mostly the upper body and includes the shaking of the back and shoulders

Performed, using feet Performed while kneeling Any THREE correct correlated differences = 3 marks Candidates may answer in table format

(3)

16.5 16.5.1 Ululation 1 mark

(1) 16.5.2 Izibongo 1 mark

(1) 16.5.3 Chordophone 1 mark

(1) [10]



QUESTION 17 • Traditional elements which were retained are the following:

o Kiba polyrhythms o Always in Sepedi language o Call and response between voices and instruments o Ululation, crepitations and vocal lilting

• Changes which were introduced: o Modern jazz rhythms are added o Any modern instruments (guitar, keyboard, drum kit) can be used o Any African language can be used o Free kiba is recorded and sold for commercial gain.

Any TWO facts relating to traditional elements = 2 marks = 5 marks

Any THREE facts on transformation of elements to modern style

= 3 marks

[5]

QUESTION 18

• He has created a modern version of the malombo style • He employs various indigenous African languages • He replaces the original reed flute with a Western flute • Cyclical chord structures are employed • Call and response between voice and instrument is used extensively • Vocals, bass guitar, drum kit, indigenous drums and rattles are used


[5] QUESTION 19

• Ancestral worship o Certain songs and dances exist exclusively to communicate with the ancestors

e.g. at funerals and weddings o Certain songs and dances induce a trance through which contact is established o Through music and dance the assistance and blessing of the ancestors are

sought e.g. during initiation ceremonies o The participation of the community in the musical activity often signifies the joy

of connecting with the ancestral spirits successfully • Traditional Healers (Sangomas)

o Sangomas are agents and conduits of divinity, e.g. 'Saane' and 'Leepo' o Sangomas will initiate the process of contacting the ancestral spirits by using

invocative singing and praise poetry o Sangomas will incite the community/people to participate in ceremony o Singing, drums and whistles are employed during ritualistic performances to

provide the link between the worshippers and the divine

Any FIVE correct facts = 5 marks [5]



QUESTION 20

Playing techniques on guitar • Ukuvamba technique:

o strumming chords percussively • Ukupika technique:

o a finger-picking style o the thumb plays the lower strings ('amadoda', the Zulu word for 'men') o the other fingers in the right hand (mainly the index finger) plays a melody on

the upper strings ('amatombazane', the Zulu word for 'women') • A plectrum (called ikati) is often used


Tuning of the guitar • Different maskandi use different tunings depending on the specific style of

dance/song • Standard maskanda guitar tuning is called isiZulu-style

o strings are tuned as: EADGBD • Isishameni-style

o strings are tuned as: DADABD • Isichunu style

o strings are tuned as: DADABD (as in Isishameni) • Isigeyane-style

o Uses isiZulu (standard maskanda tuning) but different rhythmic patterns • Isimandolini style

o strings are tuned as: EBBC#F#G# Any TWO correct facts = 2 marks

Style of singing • Based on amahubo (using the pentatonic scale) • Umaskanda melody is an authentic remnant of the Zulu amahubo music, the

foundation of all Zulu vocal music • Range of voices is not wide: between a 5th and 11th • Singers switch between singing and speaking • Vocal glissandi or pitch bending is used • Text for umaskanda music is in isiZulu • Formal design of umaskanda music imitates the vocal style of isiZulu music which

in turn is based on Zulu-speech • Leader (call) and backup singers (response)


Izihlabo • An instrumental introduction based on a descending motive played on guitar or

concertina • Consists of short bursting motifs • It sounds like an 'improvised sound check' to check the tuning • Uses free rhythm and metre



Copyright reserved


CRITERIA MARK ALLOCATION Playing techniques on the guitar 1 mark for each correct fact 3

Tuning of guitar 1 mark for each correct fact 2 Style of singing 1 mark for each correct fact 5 Izihlabo 1 mark for each correct fact 2



= 3 marks

3


= 2-2½ marks


= 1½ marks


= 1 mark

Weak A single paragraph: A poor attempt at an essay.

= ½ mark


TOTAL 15

[15]

TOTAL SECTION E: 40

GRAND TOTAL: 120

MUSIC P1

2019

QUESTION PAPER


MARKS: 120 TIME: 3 hours CENTRE NUMBER:

EXAMINATION NUMBER:

This paper consists of 22 pages and 1 manuscript paper.

GRAAD 12

MUSIC P1

NOVEMBER 2019


GRADE 12





4. 5. 6.


7. 8. 9. 10.




MARKING GRID


1 20

2 15

3 10

4 15

SUBTOTAL 60



5 20

SUBTOTAL 20

AND C: WAM 6 10

7 5

8 5

9 5

10 15

SUBTOTAL 40

OR D: JAZZ 11 10

12 5

13 5

14 5

15 15

SUBTOTAL 40

OR E: IAM 16 10

17 5

18 5

19 5

20 15

SUBTOTAL 40

GRAND TOTAL 120



1.1 Name the key of this piece. _________________________________________________ (1) 1.2 Give a suitable Italian term for the tempo indication above bar 1.

_________________________________________________

(1) 1.3 What is the enharmonic equivalent of the note at (i)?

_________________________________________________

(1) 1.4 Name the intervals at (a) and (b) according to type and distance.

(a) ______________________________________________ (b) ______________________________________________

(2) 1.5 Halve the note values and rewrite the notes at (X). Insert the new time

signature.

(3)

1.6 In the given clef, rewrite the violin part at (Y) at the same pitch.

(3)

1.7 Describe the triads at (c) and (d) according to type and position. (c) _________________________________________________

(d) _________________________________________________

(2)



1.8 Answer the questions on the extract below.

1.8.1 Complete the melody above by writing an ascending sequence. (1) 1.8.2 Give TWO different names for the mode/scale formed at (S).

_________________________________________________

_________________________________________________

(2)

1.9 Add FOUR notes between the given notes to complete a blues scale.

(2)

1.10 Complete the following to form an harmonic minor scale. Add the necessary

accidentals and mark the semitones.

(2) [20]






Instrument:

Tempo:



CANDIDATE'S MARKS



Quality Suitability of instrument; correct range; musicality; dynamic, articulation and tempo indications

10

TOTAL 15

[15]

OR



2.2 Complete the opening below to form a twelve-bar melody in ternary form for any

single-line melodic instrument of your choice. Name the instrument and supply a suitable tempo indication. Add dynamic and articulation indications where applicable.

Instrument:

Tempo:



CANDIDATE'S MARKS



Quality Suitability of instrument; correct range; musicality; dynamic, articulation and tempo indications

10

TOTAL 15

[15]



QUESTION 3 (10 minutes) Answer EITHER QUESTION 3.1 OR QUESTION 3.2. 3.1 Study the extract and answer the questions.

Cadence/Kadens: ______________________



3.1.1 Name the key of this work.

_________________________________________________

(1)

3.1.2 Figure the chords at (a)–(e) with Roman numerals on the score,

e.g. iii6/iiib.

(5) 3.1.3 Identify the cadence at (f) in bars 74–8 on the score. Figure the

chords with Roman numerals.

(2) 3.1.4 Name the types of non-chordal notes at (X) and (Y).

(X) _________________________________________________ (Y) _________________________________________________

(2) [10]

OR




Cadence/Kadens:



3.2.1 Identify the chords (a)–(f) and write the chord symbols in the

spaces provided on the score, e.g. Bb/D.

(6) 3.2.2 Name the types of non-chordal notes at (X) and (Y).

(X) _________________________________________________ (Y) _________________________________________________

(2)

3.2.3 Name the cadence which is formed in bars 14–16 on the score.

Indicate the chord symbols at (g) and (h).

(2) [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.


DESCRIPTION MARK

ALLOCATION CANDIDATE'S

MARKS Correctness Notation, spacing, voice leading 12

Chord progression Choice of chords, correct cadences 14

Quality Musicality, non-chordal notes, awareness of style, creativity, e.g. use of cadential 64 and passing 6

4 progressions

4

TOTAL 30(÷ 2) = 15

[15]

OR



4.2 Complete the piece below by adding suitable harmonic material in the open spaces on the stave. Continue in the style suggested by the given material in bars 1 and 2.



CANDIDATE'S MARKS

Correctness Notation, spacing, voice leading 12

Chord progression Choice of chords, correct cadences 14

Quality Musicality, non-chordal notes, awareness of style, creativity, e.g. use of interesting chord voicings and progressions

4

TOTAL 30(÷ 2) = 15

[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).

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–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 Timbre is another term for … A

B C D

tonality. the quality and loudness of the tone. the colour and character of the tone. the duration and loudness of the tone.

5.1.2 A bassoon is a ... A

B C D

transposing brass instrument. non-transposing woodwind instrument. transposing double-reed instrument. non-transposing single-reed instrument.

5.1.3 Praise singing (ukubonga) can be described as … A

B C D

a performance of music and poetry. a performance at everyday occasions. a display of music and dance. All the above-mentioned

5.1.4 A twelve-bar harmonic pattern is most often found in ... A

B C D

bebop. ragtime. avant-garde music. blues.

5.1.5 Contrapuntal texture can be described as … A

B C D

homophony. polyphony. monophony. All the above-mentioned



5.1.6 Which ONE of the following instruments does NOT fit? A

B C D

Trombone Trumpet Saxophone Flugelhorn

5.1.7 Which ONE of the following instruments is a membranophone? A

B C D

Mbira Marimba Tabla Kudu horn

5.1.8 A number of notes or chords that indicate a temporary or final end

of a musical phrase:

A

B C D

Cadence Chord progression Fermata Upbeat

5.1.9 The verse in a pop song is a section that … A

B C D

sounds the same as the bridge. contrasts with the chorus. forms the coda of the song. has the same lyrics as the chorus.

5.1.10 Polyrhythm means … A

B C D

an accent in music caused by emphasising the weak beat. the simultaneous use of two or more melodies or voices. the simultaneous use of two or more conflicting rhythms. the use of a complex rhythmic pattern in a melody. (10 x 1) (10)

5.2 Explain FOUR rights of a composer with regard to her/his music composition,

other than performing rights.

(4) 5.3 Explain how music royalties work. (2) 5.4 CAPASSO; EMI; SONY MUSIC; SAMRO From the list of companies above, choose a: 5.4.1 Recording company (1) 5.4.2 Music rights organisation (1) 5.5 Describe TWO functions of a music publishing company. (2) [20]

TOTAL SECTION B: 20





6.1 Which voice types are associated with the following characters in The Magic

Flute by WA Mozart?

6.1.1 Tamino

6.1.2 Queen of the Night

6.1.3 Monostatos (3) 6.2 Which changes did the Mannheim school make to the existing orchestral

set-up?

(2) 6.3 Name ONE orchestral playing technique developed by the Mannheim

school.

(1) 6.4 Choose FOUR genres or work types in COLUMN A and match EACH one

with the correct statement in COLUMN B. Write only the letter (A–G) next to the question numbers (6.4.1 to 6.4.5) in the ANSWER BOOK, e.g. 6.4.6 H.

COLUMN A COLUMN B 6.4.1 6.4.2 6.4.3 6.4.4 6.4.5

Overture Symphony Tone poem Aria Opera seria

A B C D E F G

solo work with orchestral accompaniment work in four parts musical drama introduction to a bigger work comical musical drama independent one movement work with programmatic content a work in three parts with a solo instrument

(4 x 1) (4) [10]



QUESTION 7 7.1 Write a paragraph in which you explain rondo form. (4) 7.2 What is the tempo of a typical rondo movement? (1) [5] QUESTION 8 Write a paragraph in which you define the genre (2 marks) and describe how Mendelssohn utilised sonata form (3 marks) in the Hebrides Overture.

[5]

QUESTION 9 Write a paragraph in which you discuss why the opera, The Magic Flute, could be regarded as a good example of a Singspiel.

[5]

QUESTION 10 Write an essay on Beethoven's Pastorale Symphony No. 6 Op. 68 in which you discuss how the use of instruments depicts the pastoral idea. Refer to at least THREE of the movements.

You will be credited for the logical presentation of facts and the structure of your essay.


CRITERIA MARK ALLOCATION Programmatic titles of at least three movements 3 Link of instruments to pastoral ideas in at least three movements 9

Logical presentation and structure of the essay 3 TOTAL 15

[15]

TOTAL SECTION C: 40

OR




11.1 Write short notes on the playing style of Feya Faku. (2) 11.2 Name TWO prominent rhythmic features of kwela. (2) 11.3 Explain why the township, Sophiatown, was important in the development of

African jazz.

(2) 11.4 Choose FOUR artists in COLUMN A and match EACH one with the correct

instrument in COLUMN B. Write only the letter (A–G) next to the question numbers (11.4.1 to 11.4.5) in the ANSWER BOOK, e.g. 11.4.6 H.

COLUMN A COLUMN B 11.4.1 11.4.2 11.4.3 11.4.4 11.4.5

Moses Molelekwa Philip Tabane Robbie Jansen Louis Moholo Lemmy Mabaso

A B C D E F G

drum kit saxophone guitar pennywhistle piano trumpet trombone

(4 x 1) (4) [10]

QUESTION 12 Write a paragraph on the musical legacy of the Jazz Epistles. [5] QUESTION 13 Write a paragraph in which you discuss the contribution of Miriam Makeba OR Dolly Rathebe OR Thandi Klaasen to South African jazz.

[5]

QUESTION 14 Write a paragraph in which you explain the characteristics of Cape jazz by referring to ONE of the following artists: Abdullah Ibrahim OR Robbie Jansen OR Winston Mankunku Ngozi. Refer to the elements of music.

[5]



QUESTION 15 Write an essay in which you discuss the historical background, musical origins and style features of marabi. Name ONE artist and a hit/album.


CRITERIA MARK ALLOCATION Historical background 2 Musical origins 3 Style features 5 Representative artist and hit/album 2 Logical presentation and structure of the essay 3 TOTAL 15

[15]

TOTAL SECTION D: 40

OR




16.1 What is the role of music in traditional healing? (2) 16.2 Describe TWO ways of tuning the guitar used in maskanda. (2) 16.3 Explain TWO ways in which Sello Galane developed kiba into its modern

version, free kiba.

(2) 16.4 Choose FOUR artists from COLUMN A and match EACH one with the correct

musical influence in COLUMN B. Write only the letter (A–G) next to the question numbers (16.4.1 to 16.4.5) in the ANSWER BOOK, e.g. 16.4.6 H.

COLUMN A COLUMN B

16.4.1 16.4.2 16.4.3 16.4.4 16.4.5

Soul Brothers Sello Galane Phuzekhemisi Mahlathini Joseph Shabalala

A B C D E F G

amakhweyane umnqokolo American soul mbube malombo moppies and ghoema kwaito

(4 x 1) (4) [10] QUESTION 17 Write a paragraph in which you describe the origins of isicathamiya and how the style gained international status.

[5]

QUESTION 18 Write a paragraph in which you discuss Philip Tabane's singing style in malombo. [5] QUESTION 19 Write a paragraph on the development of children's musical skills in traditional African societies.

[5]



QUESTION 20 Write an essay in which you argue why mbaqanga can be considered a fusion of African and Western features.

You will be credited for the logical presentation of facts and the structure of your essay.


CRITERIA MARK ALLOCATION African style features 6 Western style features 6 Logical presentation and structure of the essay 3 TOTAL 15

[15] TOTAL SECTION E: 40

GRAND TOTAL: 120


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