Music Grade 12 P2 NSC November 2025 Question Paper (English)

Confidential NATIONAL SENIOR CERTIFICATE GRADE 12 MUSIC P2 NOVEMBER 2025 MARKS: 30 TIME: 1½ hours CENTRE NUMBER: EXAMINATION NUMBER: FOR OFFICIAL USE ONLY MARKS OBTAINED MODERATED QUESTION SM/DCM CM IM MARKER MAX MARKS SIGN MARKS SIGN MARKS SIGN MARKS SIGN 10 1 10 1 10 1 10 1 1 4 2 4 3/4/5 14 6 8 TOTAL 30 This question paper consists of 19 pages and 1 sheet of manuscript paper. Copyright reserved Please turn over

Music/P2 2 DBE/November 2025 NSC Confidential INSTRUCTIONS AND INFORMATION 1. This question paper consists of THREE sections: SECTION A: Aural (8) SECTION B: Recognition of Music Concepts (14) SECTION C: Form Analysis (8) 2. QUESTION 1, QUESTION 2 and QUESTION 6 are COMPULSORY. 3. In addition, also answer QUESTION 3: Indigenous African Music (IAM) OR QUESTION 4: Jazz OR QUESTION 5: Western Art Music (WAM). 4. Write ALL your answers on this question paper. Use a pencil for music notation and blue or black ink for the other answers. 5. This examination will be written while candidates are listening to music tracks. 6. The music teacher of the centre must conduct the examination in the presence of the invigilator. 7. The last page of this question paper is manuscript paper intended for rough work. Candidates may NOT remove this page. 8. Candidates may NOT have access to any musical instrument for the duration of this examination. 9. Candidates must take note of the mark allocation for each question to provide enough information in their answers. 10. Write neatly and legibly. FOR OFFICIAL USE ONLY FOR OFFICIAL USE ONLY MARKS OBTAINED MARKS OBTAINED MARKING – External moderator REMARKING MAX MARKS SIGN MAX MARKS SIGN QUESTION 10 1 10 1 1 4 4 2 4 4 3/4/5 14 14 6 8 8 TOTAL 30 30 Copyright reserved Please turn over

Music/P2 3 DBE/November 2025 NSC Confidential INSTRUCTIONS FOR THE PERSON OPERATING THE SOUND EQUIPMENT 2025 1. Allow the candidates to first read each question and then play the relevant track. 2. The number of the track must be announced clearly each time before it is played. 3. Each music extract (track) must be played the number of times specified in each frame. 4. Where the instruction, '… in succession' does NOT appear, adequate time should be allowed between playing tracks to give candidates time to think and write their answers before repeating a track OR playing the next track. 5. If a school offers more than one stream (Indigenous African Music (IAM), Jazz or Western Art Music (WAM)), the following guidelines must be followed: • Each stream must sit for the examination in a separate venue. • Each venue must be equipped with suitable sound equipment. • Each venue must have its own media device with music extracts. • An invigilator must be present in each venue. 6. The tracks have to be played as follows: • IAM candidates: Tracks 1 to 17 and Track 34 • JAZZ candidates: Tracks 1 to 9, Tracks 18 to 25 and Track 34 • WAM candidates: Tracks 1 to 9 and Tracks 26 to 34 Copyright reserved Please turn over

Music/P2 4 DBE/November 2025 NSC Confidential SECTION A: AURAL (COMPULSORY) QUESTION 1 Play Track 1 TWICE in succession. 1.1 Notate the rhythm of the missing notes in bars 3 and 4. (3) Play Track 1 again. Play Track 2 TWICE in succession. 1.2 Notate the missing notes at (A) and (B) in staff or sol-fa notation. (1) Play Track 2 again. [4] Copyright reserved Please turn over

Music/P2 5 DBE/November 2025 NSC Confidential QUESTION 2 2.1 Identify the cadences at the end of EACH of the following TWO extracts. Play Track 3 THREE times in succession. 2.1.1 Track 3: (1) Play Track 4 THREE times in succession. 2.1.2 Track 4: (1) 2.2 Answer the following questions by making a cross (X) in the appropriate block. Play Track 5 TWICE in succession. 2.2.1 Identify the most prominent texture at the beginning of this extract. CRITERIA ANSWER Monophonic Polyphonic Homophonic Call and response (1) Play Track 6 TWICE in succession. 2.2.2 Identify the most prominent compositional technique. CRITERIA ANSWER Melodic sequence Rhythmic repetition Diminution Imitation (1) Play Track 7 TWICE in succession. 2.2.3 Which ONE of the following describes the metre? CRITERIA ANSWER Triple time Quadruple time Irregular time Compound time (1) Copyright reserved Please turn over

Music/P2 6 DBE/November 2025 NSC Confidential Play Track 8 TWICE in succession. 2.2.4 Which ONE of the following describes the choir? CRITERIA ANSWER SATB TTBB SAB SSA (1) Play Track 9 THREE times in succession. 2.3 Indicate TWO descriptions in COLUMN A that relate to the music in Track 9. Make a cross (X) in TWO appropriate blocks. COLUMN A ANSWER Pentatonic scale passage, descending movement Wholetone scale, ascending movement Piano and descending parallel octaves Ascending parallel fifths and polyphonic Glissando-like passage over a wide range (2 x 1) (2) (8 ÷ 2) [4] TOTAL SECTION A: 8 Copyright reserved Please turn over

Music/P2 7 DBE/November 2025 NSC Confidential SECTION B: RECOGNITION OF MUSIC CONCEPTS Answer QUESTION 3 (IAM) OR QUESTION 4 (JAZZ) OR QUESTION 5 (WAM). QUESTION 3: INDIGENOUS AFRICAN MUSIC (IAM) 3.1 Listen to the following tracks. Indicate THREE items in COLUMN A that relate to the music in Tracks 10–12. Make a cross (X) in THREE appropriate blocks for EACH track. Play Track 10 THREE times in succession. 3.1.1 Track 10 COLUMN A ANSWER Moderate quadruple time Call by chorus, response by soloist Syncopated rhythmic patterns Crepitation in introduction Umrhubhe accompaniment Leg rattles and body percussion Melody in unison Lively tempo in triple time (3 x 1) (3) Play Track 11 THREE times in succession. 3.1.2 Track 11 COLUMN A ANSWER Bass voice soloist Ululation and vocal sound effects Male and female chorus Upbeat and festive mood Polyrhythms between instruments Acoustic guitar accompaniment Cyclic chord progression: I – IV – I64 – V Ostinato on the drums and bass (3 x 1) (3) Copyright reserved Please turn over

Music/P2 8 DBE/November 2025 NSC Confidential Play Track 12 THREE times in succession. 3.1.3 Track 12 COLUMN A ANSWER Repetitive body percussion patterns Parallel movement in melody Isicathamiya Descending melodic sequences Overtone singing/umngqokolo Improvisation Call and response between soloist and group Regular phrases (3 x 1) (3) Play Track 13 TWICE. 3.2 Answer the following questions regarding this extract. 3.2.1 Identify the following features that you hear in this extract: Tonality Compositional technique in chorus accompaniment Chorus (3 x 1) (3) 3.2.2 Which style is represented in this extract? (1) Copyright reserved Please turn over

Music/P2 9 DBE/November 2025 NSC Confidential Play Track 14 TWICE. 3.3 Answer the following questions regarding this extract. 3.3.1 Name ONE popular artist/group associated with this extract. (1) 3.3.2 Describe the following elements that you hear in this extract: Harmony Rhythm Metre (3 x 1) (3) Play Track 15 TWICE. 3.4 Indicate THREE items in COLUMN A that relate to the music in Track 15. Make a cross (X) in THREE appropriate blocks. COLUMN A ANSWER Izihlabo in free time followed by a regular rhythm Descending chord progression Concertina plays a chord on every beat Backing vocals singing in unison with soloist A repeated chord played in moderate tempo Izibongo in a fast tempo Concertina, guitar, idiophone and bass guitar accompaniment (3 x 1) (3) Copyright reserved Please turn over

Music/P2 10 DBE/November 2025 NSC Confidential Play Track 16 THREE times in succession. 3.5 Answer the following questions regarding this extract. 3.5.1 Describe the introduction in this extract. (2 x 1) (2) 3.5.2 Identify the style and group of the song from which this extract is taken. Style: Group: (2 x 1) (2) Play Track 17 THREE times in succession. 3.6 Answer the following questions regarding this extract. 3.6.1 Name the instrument playing the melody. (1) 3.6.2 Name the melodic instrument that was originally associated with this style. (1) 3.6.3 Describe the melody. (2 x 1) (2) (28 ÷ 2) [14] TOTAL SECTION B: 14 OR Copyright reserved Please turn over

Music/P2 11 DBE/November 2025 NSC Confidential QUESTION 4: JAZZ 4.1 Listen to the following tracks. Indicate THREE items in COLUMN A that relate to the music in Tracks18–20. Make a cross (X) in THREE appropriate blocks for EACH track. Play Track 18 THREE times in succession. 4.1.1 Track 18 COLUMN A ANSWER Blues influences Syncopated rhythms and homophonic texture March tempo in simple duple metre Syncopated left-hand stride Repetitive melodic figures in the upper part Cyclic four-chord progression March tempo in compound duple metre Ascending chromatic movement in accompaniment (3 x 1) (3) Play Track 19 THREE times in succession. 4.1.2 Track 19 COLUMN A ANSWER Syncopated melody line on piano Homophonic texture in triple metre Avant-garde jazz Introduction begins on the first beat Swing rhythm with improvisation in horn section Upbeat dance tempo in quadruple metre Walking bass line Bass trombone and drum kit in rhythm section (3 x 1) (3) Copyright reserved Please turn over

Music/P2 12 DBE/November 2025 NSC Confidential Play Track 20 THREE times in succession. 4.1.3 Track 20 COLUMN A ANSWER Irregular time and fast tempo Main melody is in a minor Two-chord cycle Main melody on trumpet Bass guitar doubles up the ostinato figure Ostinato figure on muted electric guitar Orchestral jazz style influences Chordophone and percussion accompaniment (3 x 1) (3) Play Track 21 TWICE. 4.2 Answer the following questions regarding this extract. 4.2.1 Identify the following features that you hear in this extract: Voice type of soloist Time signature (2 x 1) (2) 4.2.2 Briefly describe the guitar accompaniment. (2 x 1) (2) 4.2.3 Which other instrument plays the accompaniment? (1) Play Track 22 TWICE. 4.3 Answer the following questions regarding this extract. 4.3.1 Name TWO marabi influences heard in this extract. (2 x 1) (2) Copyright reserved Please turn over

Music/P2 13 DBE/November 2025 NSC Confidential 4.3.2 Describe the following elements that you hear in this extract: Harmony Rhythm Metre (3 x 1) (3) Play Track 23 TWICE. 4.4 Indicate THREE items in COLUMN A that relate to the music in Track 23. Make a cross (X) in THREE appropriate blocks. COLUMN A ANSWER Open hi-hat and bass drum play on the beat Cyclic chord progression with brass and woodwind arrangements Ragtime and blues influences Syncopated melodies Free improvisation with alternating four-chord cycle Regular metre with driving riff by drum kit and bass guitar Rhythmic layering in piano and horn parts (3 x 1) (3) Play Track 24 TWICE. 4.5 Identify the title and style of this song. Title: Style: (2 x 1) (2) Copyright reserved Please turn over

Music/P2 14 DBE/November 2025 NSC Confidential Play Track 25 THREE times in succession. 4.6 Answer the following questions regarding this extract. 4.6.1 Name the instrument playing the melody. (1) 4.6.2 Name the melodic instrument that was originally associated with this style. (1) 4.6.3 Describe the melody. (2 x 1) (2) (28 ÷ 2) [14] TOTAL SECTION B: 14 OR Copyright reserved Please turn over

Music/P2 15 DBE/November 2025 NSC Confidential QUESTION 5: WESTERN ART MUSIC (WAM) 5.1 Listen to the following tracks. Indicate THREE items in COLUMN A that relate to the music in Tracks 26-28. Make a cross (X) in THREE appropriate blocks for EACH track. Play Track 26 THREE times in succession. 5.1.1 Track 26 COLUMN A ANSWER Adagio assai Simple quadruple metre in a minor key Allegro moderato Guitars playing in a contrapuntal style Arpeggiated accompaniment Compound duple metre in a minor key Opening theme in a monophonic texture Repetition in different voices (3 x 1) (3) Play Track 27 THREE times in succession. 5.1.2 Track 27 COLUMN A ANSWER Orchestral accents on the main beat with ostinato bass Standard Classical orchestra SSA Pedal point on strings Prominent unison singing Prestissimo Voices, strings and orchestral bass drum (3 x 1) (3) Play Track 28 THREE times in succession. 5.1.3 Track 28 COLUMN A ANSWER Major key with pedal point Compound duple metre Rubato Diminished chords in introduction Glissando Tonic pedal point in introduction Lyrical melody with imperfect cadence Extract ends with a perfect cadence (3 x 1) (3) Copyright reserved Please turn over

Music/P2 16 DBE/November 2025 NSC Confidential Play Track 29 TWICE. 5.2 Answer the following questions regarding this extract. 5.2.1 Describe the following features that you hear in this extract: Voice type of soloist Time signature Type of chorus (3 x 1) (3) 5.2.2 What is the symbolic role of this solo character in the opera? (1) Play Track 30 TWICE. 5.3 Describe or name the following features of the aria in this extract: Character (1) Voice type (1) Melody (2 x 1) (2) Play Track 31 THREE times in succession. 5.4 Indicate FOUR items in COLUMN A that relate to the music in Track 31. Make a cross (X) in FOUR appropriate blocks. ITEMS ANSWER First theme on cellos and bassoons Beginning of the recapitulation Exposition Woodwinds do not play a prominent role Lyrical and lilting theme on the cellos and bassoons Repeat of theme on woodwinds and strings Wide range of dynamics and use of sforzando Symphony Standard Classical orchestra Motive development only in the cello melody (4 x 1) (4) Copyright reserved Please turn over

Music/P2 17 DBE/November 2025 NSC Confidential Play Track 32 TWICE. 5.5 Answer the following questions regarding this extract. 5.5.1 Name the TWO wind instruments that play the theme in this extract. (2 x 1) (2) 5.5.2 Identify the genre and composer of the work from which this extract is taken. Genre Composer (2 x 1) (2) Play Track 33 THREE times in succession. 5.6 Answer the following questions regarding this extract. 5.6.1 Describe the importance of this extract in Beethoven's Symphony No. 6 in F Major Op. 68. (1) 5.6.2 Describe TWO ways in which this music evokes a change of mood. (2 x 1) (2) (28 ÷ 2) [14] TOTAL SECTION B: 14 Copyright reserved Please turn over

Music/P2 18 DBE/November 2025 NSC Confidential SECTION C: FORM ANALYSIS (COMPULSORY) QUESTION 6 Read and study the questions for ONE minute. Play Track 34 ONCE for a general overview. Listen to the piece below while you study the score. Copyright reserved Please turn over

Music/P2 19 DBE/November 2025 NSC Confidential Play Track 34 again. 6.1 This piece is in an unusual ternary form. Give the bar numbers of the possible B section. SECTION BAR NUMBERS B (2 x 1) (2) 6.2 Name ONE way in which this B section differs from a typical B section. (1) 6.3 Name the key and cadence at bar 74 to 81. Key Cadence (2 x 1) (2) 6.4 Name the rhythmic device in bars 7 and 9. (1) 6.5 D.C. (in bar 11) is the abbreviation for Da Capo. What does this mean? (1) 6.6 Circle the non-harmonic note in bar 6 on the score. (1) Play Track 34 ONE last time. TOTAL SECTION C: 8 GRAND TOTAL: 30 Copyright reserved

Music/P2 DBE/November 2025 NSC Confidential Copyright reserved