Music Grade 12 Paper 1 Gauteng Mock 2015 Memo (English)

PREPARATORY EXAMINATION 2015 MEMORANDUM SUBJECT: MUSIC (10691)

10691/15 INSTRUCTIONS AND INFORMATION: 1. This paper consists of FIVE sections. 2. All candidates must answer SECTION A (music theory) and SECTION B (general music knowledge). 3. SECTION A must be answered in pencil in the spaces provided on the question paper and SECTION B must be answered in ink in the answer book provided. 4. Candidates must then answer EITHER SECTION C (Western art music) OR SECTION D (Jazz) OR SECTION E (Indigenous African Music). 5. Answer your choice of SECTION C/D/E in pen in the answer book provided. 6. The last page of this question paper is manuscript paper and is intended for rough work. It may be removed by the candidate. MARKING GRID MAX MARKS TEACHER MODERATOR SECTION A: MUSIC THEORY Question 1 20 Question 2.1or 2.2 15 Question 3 10 Question 4.1 or 4.2 15 SUB-TOTAL 60 SECTION B: GENERAL MUSIC KNOWLEDGE Question 5.1 10 Question 5.2 10 SUB-TOTAL 20 SECTION C: WESTERN ART MUSIC Question 6 10 Question 7 5 Question 8 5 Question 9 5 Question 10 15 SUB-TOTAL 40 SECTION D: JAZZ Question 11 10 Question 12 8 Question 13 7 Question 14 15 SUB-TOTAL 40 SECTION E: INDIGENOUS AFRICAN MUSIC Question 15 10 Question 16 8 Question 17 7 Question 18 15 SUB-TOTAL 40 2

10691/15 SECTION A: MUSIC LITERACY COMPULSORY QUESTIONS: QUESTION 1 AND 3 CHOICE QUESTIONS: QUESTION 2.1 OR 2.2 AND QUESTION 4.1 OR 4.2 QUESTION 1 (COMPULSORY) (20 marks) Study the extract below and answer all the questions that follow: B A A A C D 3

10691/15 1.1 Transpose the notes in the treble clef part of bar 1 (A) a major second higher. (3) Remember to insert the new key signature. (1 mark for key signature, minus ½ per error up to a maximum of -2 marks) 1.2 Rewrite the notes in the treble clef of bar 3 (B) in the corresponding compound (5) time signature. Remember to add the new time signature. (1 mark for time signature, 1 mark per beat, minus ½ per error up to a maximum of 1 mark per beat) 1.3 Write an ascending harmonic minor scale, that corresponds with the key signature (3) of the extract. Use a compound time signature and correct grouping. (1 mark for correct time signature, minus ½ per error up to a maximum of 2 marks) 1.4 Insert a note under each * to form the Blues scale on F. (1) * * OR (½ mark each) 4

10691/15 1.5 Identify and name the intervals marked C and D, e.g. Major 7th. (2) C Minor 7th D Major 6th (1 mark each, no half marks) 1.6 Invert the intervals in Question 1.5 and name the inverted intervals. (4) C D Major 2nd Minor 3rd (1 mark for each correct interval, 1 mark for each correct idenfication, no half marks. Interval may be notated melodically or harmonically) 1.7 Compare bars 1 and 2. Identify ONE similarity and ONE difference between these (2) two bars. Similariy Melody and rhythm are the same (mention only one) Difference Octave higher – pitch difference [20] 5

10691/15 Answer either QUESTION 2.1 or QUESTION 2.2 QUESTION 2 (Melody writing) (15 marks) 2.1 Complete the motive below to form a 12-bar melody in ABA-form for a single-line (15) melodic instrument. Remember to add dynamic and articulation indications. Indicate for which instrument you are writing. INSTRUMENT _________________________________________________ POSSIBLE ANSWER: Cadence (imperfect/perfect) A: D major Imperfect cadence (imperfect) B: D major / b minor / A major Perfect cadence in D major A: D major The melody will be marked according to the following guidelines: DESCRIPTION MARK CANDIDATE'S ALLOCATION MARKS Form and cadential points 6 Correct notation 5 Performance indications and 4 articulation General Impression: innovation, 15 creativity, performance indications, melodic shape TOTAL 30/2=15 OR 6

10691/15 2.2 Complete the motive below to form a 12-bar melody in ABA-form for a single-line (15) melodic instrument. Remember to add dynamic and articulation indications. Indicate for which instrument you are writing. INSTRUMENT ______________________________ POSSIBLE ANSWER: Cadence (imperfect/perfect) A: b minor Imperfect cadence B: b minor/D major/F# major Perfect cadence in b minor A: b minor The melody will be marked according to the following guidelines: DESCRIPTION MARK CANDIDATE'S ALLOCATION MARKS Form and cadential points 6 Correct notation 5 Performance indications and articulation 4 General Impression: innovation, creativity, 15 performance indications, melodic shape TOTAL 30/2=15 [15] 7

10691/15 QUESTION 3 (Harmonic Analysis) (10 marks) Study the extract below and answer the questions that follow: Bist du bei mir J S Bach A C F B D G H E 8

10691/15 3.1 Name the keys at A and B, e.g. B major. (2) A D major B A major 3.2 Identify the keys and figure the chords at C and D, e.g. E: IV6 OR E: A/C# (2) C D: V7 OR A7 D G: I OR D: IV OR G 3.3 Name the cadence at E. Write down the key, chord progression and name, (3) e.g. E: V-I Perfect cadence. E D: V – vi, interrupted cadence OR A – Bm, interrupted cadence 3.4 Identify and name the type of non-chordal notes at F and G, e.g appoggiatura. (2) F Lower auxiliary note G Anticipation 3.5 Name the compositional technique found at H in bars 14 and 15. (1) H Repetition [10] 9

10691/15 QUESTION 4 (Harmonisation) (15 marks) Answer either QUESTION 4.1 or QUESTION 4.2 4.1 Complete the following harmonisation by adding parts for the atlo, tenor and bass (15) voices to the given soprano melody. POSSIBLE ANSWER The harmonisation will be marked according to the following guidelines: DESCRIPTION MARK ALLOCATION CANDIDATE'S MARKS Chord progression: choice of chords and non- 12 (12 progressions harmonic notes excluding end of 1st phrase) Correctness: notation, voice leading, doubling, 13 (13 chords, minus ½ spacing mark per error , not more than -1 per chord) General impression: innovation, creativity, non- 15 chordal notes TOTAL 30÷2 = 15 [15] 10

10691/15 OR 4.2 Complete the following piece by adding suitable harmonic material to the given (15) melody in the bass clef. Write in the style that the melody suggests. POSSIBLE ANSWER The harmonisation will be marked according to the following guidelines: DESCRIPTION MARK ALLOCATION CANDIDATE'S MARKS Chord progression: choice of chords and non- 14 (2 per bar, 1 each in harmonic notes (secondary V not compulsory) bar 4 and 8) Voicing 8 (1 per bar) General impression: innovation, creativity, 8 characterisation TOTAL 30/2 = 15 [15] TOTAL SECTION A: 60 11

10691/15 SECTION B - GMK (Compulsory) 20 Marks Question 5.1 (10 marks) Choose the most correct answer from the options A – D in order to answer each of the questions 5.1-10. Write only the question number and letter in each case, e.g. 5.11 D 5.1.1 Which of the following items is not a basic element of music? C Perspective 5.1.2 Which of the following items is not a group of musical instruments? B Sousaphones 5.1.3 Which of the following items is not a technique with which “form” is created in music? D Instrumentation 5.1.4 Which of the following items is not typical of basic formal structures in African music.? A Ground Bass 5.1.5 Which of the following items is not a tempo indication? C Mezzo 5.1.6 Which of the following Artists/Groups is not part of Rock Music culture in the 20th Century? B Ravi Shankar 5.1.7 Which of the following items is not a style period in Western Art Music? C Ragtime 5.1.8 Which of the following items is not a style of Jazz? D Bluegrass 5.1.9 Which of the following items is not a style of Indigenous African Music? A Ipitombi 5.1.10 Which of the following sets of tones and semitones represent a Dorian Mode? D tone, semitone, tone, tone, tone, semitone, tone [10] 12

10691/15 Question 5.2 (10 marks) Answer the following questions on the South African Music Industry: 5.2.1 Define the crime “musical plagiarism” in your own words. (2) - Listener can clearly discern where the piece of music comes from (identify the original) - Parts of the melody, words or lyrics are the same as an existing work 5.2.2 According to copyright law, who is the song writer of a song? (1) - The person who writes the vocal melody (and\or the lyrics) 5.2.3 Explain in your own words how copyright can be shared if members of a band write the song together. (2) - Vocal melody & words: 50% copyright - Bass player, Guitarist, Drummer creating their own parts: 50% copyright (Other sensible permutations may also be marked correctly) 5.2.4 Name THREE ways in which an agent/manager can help to develop an artist’s music business. (3) - Making records/recordings/CDs/youtube videos - Setting up public performances - Having the music broadcasted (Radio/TV) - Producing and reproducing scores - Adaption or arrangement of the music (Any three, or other ways not mentioned here) 5.2.5 Explain what “needle-time” royalties are. (2) - Needle-time royalties remunerate music performers (and owner of sound recordings) for public broadcast of their recorded performances. [10] 13

10691/15 SECTION C – WAM (Choice) 40 Marks Question 6 Short Questions (10 marks) 6.1 Identify the work from which this theme is taken. Write down the title and composer. (2) Title: Hebrides Overture / Fingal’s Cave Composer: (Felix) Mendelssohn 6.2 Name the genre of this work and provide a definition for this genre. (3) Genre: Concert Overture (1) Definition: Type of 19th century, single movement orchestral work (which may have programmatic content) (2) OR Genre: Symphonic poem (1) Definition: Type of 19th century, single movement orchestral work with programmatic content (2) 6.3 Name one similarity and one difference between the exposition and the recapitulation in sonata form. (2) Similarity: Both first themes are in the tonic key (1) Difference: The second theme of the exposition is in a related key while it is in the tonic key of the recapitulation (1) 6.4 Name THREE principles that the Camerata established and followed in their invention of Opera. (3)  Revival of Greek drama  Invention of a new musical style in imitation of ancient Greek drama  Following the rhythm and tone inflection of speech as accurately as possible  Keep the accompaniment as simple as possible in order to clarify the text  Utilise a homophonic (melody with accompaniment) style. (Any 3 facts) 14

10691/15 Question 7 (5 marks) Write a paragraph in which you explain the following sub-genres as they are found in the opera: – aria (2), – recitative (2) – chorus (1). Aria: Vocal solo accompanied by orchestra (1), explaining emotions experienced by the character (1) Recitative: Musical version of spoken text, usually found before an aria (1). Accompanied by harpsichord (recitativo secco) or orchestra (recitativo stromentato) (any one for 1 mark) Chorus: Music sung by a choir of actors, usually at the end of a scene (1) Question 8 (5 marks) In what way does Beethoven’s Symphony No. 6 Op. 68 in F major differ from earlier, standard Classical symphonies, composed by his predecessors. Write a short paragraph in which you mention 5 of these differences. 1. It is much longer in terms of playing time, has a larger scope 2. It has 5 movements in stead of the usual 4 (or 3 at times) 3. Three of the movements follow on without pause (3 to 4 to 5) 4. He uses tiltes to suggest programmatic content 5. Used instruments in ways not used before: 2 trombones, piccolo, timpani 6. Extends the form: episodic form for 4th movement; extended coda for 5th movement (any 5) Question 9 (5 marks) Describe a typical Classical orchestra. Woodwind: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons (2 marks, ½ for each instrument group) Brass: 2 French horns, 2 trumpets Percussion: 2 timpani Strings: First and second violins, violas, cellos and double bass ( ½ per instrument, any 10 instruments, number of instruments need not be specified) 15

10691/15 Question 10 (15 marks) Die Zauberflöte (The Magic Flute) is the last opera that WA Mozart composed. Using the following guidelines, write an essay in which you discuss his final, monumental opera.  Provide a definition of the specific genre of Die Zauberflöte (1)  Mention TWO sub-genres which occur in the opera and explain these (4)  Mention THREE characters, their voice types and one solo that each one sings (9) Your logical presentation of content and employing a well-structured format will be credited with one mark. (1) SINGSPIEL:  Uses German language exclusively  Extensive spoken dialogue  Plots are generally comic / romantic / or includes elements of fantasy  Often magical creatures  Comically exaggerated characteristics of good and evil (Any 2 - ½ mark each) SUB-GENRES: (any two):  Libretto (word sung and spoken by singers)  Aria (vocal solo accompanied by orchestra)  Duet (aria for two singers)  Recitativo (musical representation of spoken text)  Overture (orchestral introduction)  Interlude (instrumental section played between two scenes or acts) (Any 2 (2) with explanation (2) = 4) ARIAS and CHARACTERS (3 marks each, any three):  Der Vogelfänger bin ich ja (A birdcatcher am I) – Papageno, bariton  Das Bildnis is bezaubernd schön (This image is enchantingly beautiful) – Tamino, tenor  Bei Männern welche Liebe fühlen (With people who feel love) – Duet between Pamina and Papageno, soprano (lyrical) and bariton  O Isis und Osiris – Sarastro, bass  Alles fühlt der Liebe Freuden (Everyone feels the joy of love) – Monostatos, tenor  Der Hölle Rache kocht in meinen Herzen (Hell’s anger boils in me) – Queen of the Night, soprano (coloratura)  In diesem hei’gen Hallen (In these holy halls) – Sarastro, bass  Ach, ich fühl’s, es ist verschwunden (Ah, I feel it, it has disappeared) – Pamina, soprano  Ein Mädchen oder Weibchen (A girl or a little wife) – Papageno, bariton (Any 3 (x3) = 9) ESSAY FORMAT (1) 16

10691/15 SECTION D – JAZZ (Choice) 40 Marks Question 11 Short Questions (10 marks) 11.1 Name FOUR instruments which are at the heart of the origin of Cape Jazz. (4)  Brass instruments (trumpet, cornet, trombone) Saxophone, Banjo, Guitar, Percussion (Any four, one mark each) 11.2 Explain what a “ghoema-drum” is. (2)  Wooden, barrel-shaped, Asian-style drum, played with bare hands (2) 11.3 Name THREE leading experts in Cape Jazz who were involved in the original recording of Mannenberg in the early 1970s. (3)  Abdullah Ibrahim (Doller Brand), Basil Coetzee, Robbie Jansen (3) 11.4 Which Jazz artist performs, The Colours They Bring? (1)  Feya Faku (1) Question 12 (8 marks) Write a paragraph explaining the meaning and characteristics of Kwela music in the South African Jazz music context. Mention artists/groups to serve as examples. (8)  Originates from Marabi and American vocal Jazz  Penny-whistle music of the 1950s  Instruments: String bass, Guitar, Drums, Penny-whistle  Often based on close-harmony songs or songs of migrant workers  Strongly associated with the dance form, “jive”  Kwela means: “climb in” (Zulu) used as a warning at the shebeens that the police vans (kwela-kwela) are on their way  Uniquely Johannesburg (Soweto) invention with wide popularity and excellent commercial value  Artists: Spokes Mashiyane, Lemmy Mabaso, Elias Lerole (Any 6 facts and 2 artists = 8 marks) 17

10691/15 Question 13 (7 marks) “The Soul Brothers” is a representative group of a typically South African style. Discuss why this style is typically South African and mention ONE other group/artist that employs this style. (7)  The style is Mbaqanga  The Zulu word means “steamed corn bread”, typically eaten in Kwa-Zulu-Natal  A further development of SA styles, Marabi and Kwela  Performers are multi-ethnic which accounts for further blending of indigenous styles  Instruments: Electric guitar, Saxophones, Accordion, Violin and indigenous drums  Typically starts with a guitar introduction followed by a bass melody based on the F-C- G7- C chord pattern  The strong forward drive of the bass and rhythm is a distinguishing feature  Artists: Makgonatsohle, Cool Crooners, Miriam Makeba (1 mark for Mbaqanga, any 5 facts, 1 other artist = 7 marks) Question 14 (15 marks) Write an essay on early Marabi music. Include information on the origin and style characteristics of the music (10). Mention at least TWO artists/groups and a typical song or piece by each. (4). Your logical presentation of content and employing a well-structured format will be credited with one mark. (1)  First township style to develop between 1920 and 1940  Originated in the “shebeens” around Johannesburg  Arose out of the socio-economic conditions of the black working class population  Style is anti-establishment, rebellious and artistic outlet of the poor people  Marabi means: “to fly around” like the dancers did to the music or “a lawless person” indicating the performers in this style  Instruments: piano/organ, guitar, brass instruments, voice  Lyrics are informal, performers speak with candour, often expressing political protest  A mixture of indigenous harmony and Afro-American Ragtime  Simple chord progressions are repeated over and over  Music intended for dancing so that there is an easily distinguishable beat, rhythm and feel  Artists and Songs: The Jazz Maniacs: Gully Low Blues, The Merry Blackbirds: Pesheya’ Kwezo Ntaba, The Manhatten Brothers: Jikela Emaweni, Mahotella Queens: Marena ( Origin 5 marks, Characteristics 5 marks, Artists & Songs 4 marks, Essay format 1 mark = 15 marks) 18

10691/15 SECTION E – IAM (Choice) 40 Marks Question 15 Short Questions (10 marks) 15.1 Name two musicians who were instrumental in the establishment of the Malombo style. (2)  Phillip Tabane, Julian Bahula, Lucky Ranku, Abie Cindi (any 2 for 2 marks) 15.2 What is Sello Galane’s main objective in creating Free Kiba? (2)  He wanted to de-tribalise it from its baPedi/vhaVenda roots in order to include the entire nation, yet retain the the soul of the music (2) 15.3 Explain the singing style of an Isicathamiya group. (4)  Means ‘to step on one’s toes lightly.  Focus on precise, close harmonies  Strive for careful blending of voices  A soloist often leads the singing  Usually in SATB  Crepitations and ululation: often used in the middle of a song  A capella style of singing  Group may consists of 4-20 singers  Performs in call and response fashion by male choral ensembles (one fact per mark, any other correct fact may be accepted) 15.4 Name two famous songs/hits by Ladysmith Black Mambaso. (2)  Homeless, Hello My Baby, Unomathemba (Any 2, including famous ones not mentioned here) Question 16 (8 marks) Write a paragraph explaining the origin and characteristics of Maskandi music. Mention prominent artists/groups to serve as examples. (8)  Maskandi is modern Zulu folk music evolving with South African society  Singer can be seen as a modern day minstrel or troubadour taking his music with him  Performances almost always embedded in personal experience  Originally played on cheap portable instruments, nowadays electronic instruments that imitate the original sound  Typically: - opens with an instrumental introduction (izihlabo) - played in a guitar-picking style (ukupika) - followed by a section of spoken praise-poetry (izibongo) or story telling  Maskandi means: “musikante” from the Afrikaans  Artists: iHashi Elimhlophe: Nkiyankiya, Phuzekhemisi: Imbizo (Explanation 6 marks; artists 2 marks = 8 marks) 19

10691/15 Question 17 (7 marks) “The Soul Brothers” is a representative group of a typically South African style. Discuss why this style is typically South African and mention ONE other group/artist that employs this style. (7)  The style is Mbaqanga  The Zulu word means “steamed corn bread”, typically eaten in KwaZulu-Natal  A further development of SA styles, Marabi and Kwela  Performers are multi-ethnic which accounts for further blending of indigenous styles  Instruments: Electric guitar, Saxophones, Accordion, Violin and indigenous drums  Typically starts with a guitar introduction followed by a bass melody based on the F-C- G7-C chord pattern  The strong forward drive of the bass and rhythm is a distinguishing feature  Artists: Makgonatsohle, Cool Crooners, Miriam Makeba (1 mark for Mbaqanga, any 5 facts, 1 other artist = 7 marks) Question 18 (15 marks) Write an essay in which you discuss the role of indigenous African music in the traditional social context. (14) Your logical presentation of content and employing a well-structured format will be credited with one mark. (1)  Plays an important role in the community because everyone participates (there are no spectators)  Performed in an open area where all participants gather around  Performers may sing, play, dance or compose (improvise) at the same time  A performance may include props, costumes, sculptures, crafts and drama which enhance the possibility of participation  Music is an outlet for social interaction and sharing  Music can o enhance social activities o create amusement o communicate messages and feelings o pay tribute to an individual or deity or ancestral spirits  Music is created for a specific purpose: religious occasion, work song, dancing etc.  Songs are used for story-telling and teaching history  Songs are associated with various ceremonies: birth, puberty, marriage, death, hunts, war, work etc.  The main instrument is the African drum.  Other instruments include shakers, rattles, horns, bells, bows, etc. (Any 14 facts = 14 marks, 1 mark for essay format) Total Section A: 60 marks Total Section B: 20 marks Total Section E: 40 marks Grand Total: 120 marks 20