# Music Grade 12 Paper 1 Eastern Cape Mock 2013 Memo > Grade 12 Music Paper 1 memorandum from the Eastern Cape Mock Exam 2013, 56 pages. Read online or download the free PDF. - Page: https://www.hlayiso.com/library/music-p1-ea-memo-gr12-sept2013/59cfc730-ac83-4a92-889e-e76ec8db5ef9 - Updated: 2026-09-27 - Subject: Music - Grade: Grade 12 - Document type: Memorandum - Year: 2013 - Exam period: Eastern Cape Mock Exam - Paper: 1 - Curriculum: CAPS - Pages: 56 Breadcrumbs: [Home](https://www.hlayiso.com/) › [Library](https://www.hlayiso.com/library) › [Grade 12](https://www.hlayiso.com/library/grade-12) › [Music](https://www.hlayiso.com/library/grade-12/music) › [Music Grade 12 Paper 1 Eastern Cape Mock 2013 Memo](https://www.hlayiso.com/library/music-p1-ea-memo-gr12-sept2013/59cfc730-ac83-4a92-889e-e76ec8db5ef9) ## About this document Music · Grade 12 · Eastern Cape Mock Exam · 2013. Memorandum, 56 pages. Read online or download the PDF. Read it free online on the page above; download the PDF from there. ## Document text Text extracted from the PDF. Layout, diagrams and tables may not survive extraction. ### Page 1 Downloaded from hlayiso.com Province of the EASTERN CAPE EDUCATION NATIONAL SENIOR CERTIFICATE GRADE 12 SEPTEMBER 2013 MUSIC P1 MEMORANDUM MARKS: 125 This memorandum consists of 28 pages. ### Page 2 Downloaded from hlayiso.com 2 MUSIC P1 (SEPTEMBER 2013) SECTION A: THEORY OF MUSIC Answer QUESTIONS 1, 2, 3, 4 and EITHER QUESTION 5.1 OR QUESTION 5.2. QUESTION 1 The extract below is taken from the 2nd movement of Carl Nielson’s Violin concerto. Study it carefully and answer the questions that follow. ### Page 3 Downloaded from hlayiso.com (SEPTEMBER 2013) MUSIC P1 3 ### Page 4 Downloaded from hlayiso.com 4 MUSIC P1 (SEPTEMBER 2013) 1.1 Rewrite bars 12 and 13 of the cello part enharmonically without the key signature.  ¼ mark for each correct note. (2) 1.2 Identify the intervals marked (a), (b), (c) and (d). (a) Compound minor 3rd (b) Perfect unison (c Minor 6th (d) Minor 3rd  ¼ mark x 4 (2) 1.3 In which bar does an example of syncopation in the violin solo part occur and briefly explain why it is syncopation? Bar number: Bar 14 (or any other correct example). Reason: Accent on sub-division of beat. (2) 1.4 Use the given clefs to write the parts for horns in bars 3 to 5 as they would sound at concert pitch. Insert the correct key signature.  1 mark for the correct key signature  ¼ mark for every correct note (4) ### Page 5 Downloaded from hlayiso.com (SEPTEMBER 2013) MUSIC P1 5 1.5 Rewrite bars 7, 14 and 15 of the violin solo part into a suitable compound time.  1 mark for correct time signature  ¼ mark for each correct beat (4) 1.6 Name ONE diatonic scale in which the notes of bar 10 can be found. C# minor (1) 1.7 Rewrite bars 15 and 16 of the 1st bassoon part by doubling the notes and rests. Insert the new time signature.  1 mark for correct time signature  1 mark for correct rest  ½ mark for each correct note values in bar 16 (3) 1.8 Identify the character and position of the chord formed in bar 11, beat 4, e.g. Diminished 1st inversion. Character: Augmented Position: Root position (1) [19] ### Page 6 Downloaded from hlayiso.com 6 MUSIC P1 (SEPTEMBER 2013) QUESTION 2 Study the fragment I was Glad by Boyce and answer the questions that follow. 2.1 Supply the missing staff notation of bars 1 – 4 of the soprano voice according to the given solfa notation.  ¼ mark per beat (notation and rhythm to be correct for each beat) (4) 2.2 Write the corresponding solfa notation, according to the given staff notation of the alto voice. Write your answer on the given line below the alto voice.  ¼ mark per beat (notation and rhythm to be correct for each beat) (4) 2.3 Write the French time names of bars 1 and 2 of the soprano voice. Bar 1: Ta-efe √ ; taa √ ; taa Bar 2: Taa-aa√ ; ta-tefe√ (½ mark per tick) (2) [10] ### Page 7 Downloaded from hlayiso.com (SEPTEMBER 2013) MUSIC P1 7 QUESTION 3 Answer the following questions regarding scales and modes. 3.1 Add a note below each * to form a major scale. Do not use a key signature, and indicate all semitones.  ¼ mark for each correct *, minus ½ mark for each incorrect semi- tone slur. (4) 3.2 Identify on which type of scale or mode each of the following extracts is based. (a) (b) (c) (d) (e) Answer: (a) Whole tone scale on B (b) Blues scale on G (c) Lydian mode (d) B melodic minor (e) Pentatonic on Db (5) [9] ### Page 8 Downloaded from hlayiso.com 8 MUSIC P1 (SEPTEMBER 2013) QUESTION 4 Choose any ONE of the opening motifs below to complete a twelve-bar melody in ABA form. Add dynamics and articulation marks. Instrument: MARKING GUIDELINES DESCRIPTION MARK ALLOCATION Form and cadential points 6 (3 + 3) Musicality 8 Dynamics and articulation 2 Correctness of notation 4 Total 20 ÷ 2 = 10 [10] OR ### Page 9 Downloaded from hlayiso.com (SEPTEMBER 2013) MUSIC P1 9 Instrument: MARKING GUIDELINES DESCRIPTION MARK ALLOCATION Form and cadential points 6 (3 + 3) Musicality 8 Dynamics and articulation 2 Correctness of notation 4 Total 20 ÷ 2 = 10 [10] ### Page 10 Downloaded from hlayiso.com 10 MUSIC P1 (SEPTEMBER 2013) QUESTION 5 Answer EITHER QUESTION 5.1 OR QUESTION 5.2. 5.1 Complete the following four-part harmonisation by adding suitable chords in the given style. Possible answer: ### Page 11 Downloaded from hlayiso.com (SEPTEMBER 2013) MUSIC P1 11 The harmonisation will be marked according to the following guidelines: DESCRIPTION MARK ALLOCATION CANDIDATE’S MARKS Correctness 6 Choice of 6 chords/musicality TOTAL 12 [12] OR 5.2 Study the extract below from Rock–A–Bye Your baby by Jean Schwartz and follow the instructions. 5.2.1 Name the chord symbols at (a), (b) and (c), (for example B7/A, et cetera). (a) C/G (b) Dm7 (c) G7 (3) ### Page 12 Downloaded from hlayiso.com 12 MUSIC P1 (SEPTEMBER 2013) 5.2.2 Complete the score by adding suitable chords of your choice. (9) ### Page 13 Downloaded from hlayiso.com (SEPTEMBER 2013) MUSIC P1 13 Possible answer: (9) [12] TOTAL SECTION A: 60 ### Page 14 Downloaded from hlayiso.com 14 MUSIC P1 (SEPTEMBER 2013) SECTION B: GENERAL MUSICAL KNOWLEDGE Answer the questions in this section in the ANSWER BOOK provided. QUESTION 6: JAZZ Compare any TWO Jazz styles (except African Jazz) that you have studied by referring to the following criteria:  Origin  Tone colour  Rhythm  Melody  Composer/Performer RAGTIME BLUES DIXIELAND SWING BEBOP ORIGIN Developed by Originated in the Originated in New Developed in Developed in African 1980’ s in the Orleans. the 1920’s. It the 1940’s and American rural areas as was played is a complex pianists while work songs, field mainly by big style for small playing in hollers of slaves, bands whose jazz group of saloons and spirituals. powerful sound creative dance halls. could fill the improvisers who large dance rebelled against halls and the written ballrooms. arrangements of swing bands. TONE Piano mainly • Vocal Blues: • Dixieland bands • Big Band Bebop COLOUR but Performers use comprised of 5-8 comprised 15 comprises a arrangements “bent” notes, players. players in three saxophone and were also vocal scoops • The melodic groups. trumpet made for and slides instruments or • 3-5 supported by a dance bands • Instrumental front line included saxophones, 3- rhythm section and marching Blues: the Trumpet or 4 trombones of piano, bass bands Instrumentalists Cornet, Clarinet, and trumpets and percussion. use bent notes, Trombone. and a rhythm slides and section. mutes. ### Page 15 Downloaded from hlayiso.com (SEPTEMBER 2013) MUSIC P1 15 RHYTHM • Moderate •Blues rhythm is very The rhythm The basic beat • Bebop made duple metre. flexible and section clearly was still use of bombs- • LH: steady performers sing just marked the beat maintained by irregular beat before or after the and comprised of the bass drum accents played beat. chordal instrument but a contrasting by the Bass • Blues music is in 4/4 (piano), guitar, rhythm played Drum/Side time. drums and by the hi-hat Drum. plucked double cymbals, • The left hand bass. brought together of pianists by the foot pedal played stressed the 2nd complex and 4th beats. chords at irregular intervals. • Pizzicato bass and a cymbal marked the beat. MELODY Syncopated Melodies have the • Dixieland is • Entire sections • Melodies melody characteristic “blue” based on a March, often performed were mainly notes which are church song, melodies-either improvised produced by lowering/ popular song, in unison or in and phrases flattening the 3rd ,5th ragtime or 12-bar harmony. are of irregular and 7th notes of a blues and • Swing music length major scale. sometimes was rather includes brief composed than unaccompanied improvised. solos, called • Melodies were “breaks”. accompanied or echoed by short repeated phrases (played by saxophones or brasses) called riffs. COMPOSER Scott Joplin Bessie Smith Louis Armstrong Duke Ellington Charlie Parker [10] QUESTION 7: ROMANTIC MUSIC 7.1 What Romantic characteristics are evident in the 4th movement of Brahms’ Symphony no. 4 in E minor?  Syncopations and irregular phrases are used to push against the prevailing meter.  Rich, dark tone colours and favoured (by Brahms) instruments like the viola, clarinet and French horn are used.  A wide variety of moods is evident.  A large orchestra is used  A large brass section is evident.  An extended coda is present.  A large dynamic palette is heard. (7) ### Page 16 Downloaded from hlayiso.com 16 MUSIC P1 (SEPTEMBER 2013) 7.2 Choose ONE of the Romantic compositions below and answer the questions that follow.  Frederic Chopin: Polonaise in A flat major, op.53  Franz Schubert: Erlkönig  Giacomo Puccini: La Bohème (Act 1: Scene between Rodolfo and Mimi- excluding the arias of Rodolfo and Mimi)  Felix Mendelssohn: Violin Concerto in E minor, first movement, op.64  Bedrich Smetana: The Moldau 7.2.1 Give a brief definition of the genre. Polonaise  A polonaise is a piece in triple meter and  originated as a stately dance for the Polish nobility. Art song  The Art song is a composition for solo voice and piano, where the piano plays an interpretive partner to the voice.  It is the setting of a poem for solo voice and piano, where the composer interprets the poet’s message, mood and imagery in the music. Opera  An opera is drama that is sung to orchestral accompaniment,  usually a large-scale composition employing vocal soloists, chorus, orchestra, costumes and scenery. Concerto  A concerto is composition for instrumental soloist and orchestra  usually in three movements of which the first movement is in sonata form. Symphonic  A symphonic poem is a programmatic composition poem for orchestra in one movement  which may have a traditional form such as sonata form or similar or an original irregular form. (2) ### Page 17 Downloaded from hlayiso.com (SEPTEMBER 2013) MUSIC P1 17 7.2.2 Write programme notes on the chosen genre in QUESTION 7.2.1. Make sure that your writing style is concise and that it enables the listener to aurally relate to what you have written. Polonaise  Short solo instrumental music piece that portrays an idea or atmosphere and started flourishing in the Romantic period.  The polonaise originated as a stately dance for Polish nobility.  The piece therefore demonstrates musical nationalism depicting the Polish national identity.  The polonaise is majestic and powerful with moments of lyrical contrast.  It evokes the ancient splendour of the Polish people.  Ternary form with an introduction and short coda.  The main theme has a wide-ranging accompaniment.  The contrasting B section consists of a march-like melody accompanied by repeated octaves in the left hand.  It requires a high level of technical proficiency from the pianist. ### Page 18 Downloaded from hlayiso.com 18 MUSIC P1 (SEPTEMBER 2013) Art song  Schubert uses a through-composed form structure to capture the content and character of the poem.  The piano part with its rapid octaves and menacing bass motive conveys the tension of the wild ride.  The piano's continuous triplet rhythm unifies the episodes of the song and suggests the horse's gallop.  By imaginatively varying the music, Schubert makes one singer sing like several characters in a miniature drama.  E.g. the terrified boy sings in a higher register in minor key.  Each time the boy sings a musical outcry it is intensified through dissonant harmonies.  To convey mounting fear, Schubert pitches the boy's outcry higher and higher each time. Opera  Portrays a Bohemian life similar to his own life as an impoverished music student.  There is a smooth transition from one scene or mood to the next.  The melodies are made out of short, easily remembered phrases and are intensely emotional.  He used the orchestra to reinforce the vocal melody and to suggest atmosphere, landscape and mood.  He minimised the difference between aria and recitative, creating a continuous flow of music.  Characters and plot revealed through song – Main characters are Rodolfo, a young poet and Mimi, a poor seamstress.  Large Romantic orchestra.  La Bohème has four acts. Puccini achieves unity and continuity by using the same material in different acts.  Puccini was very much concerned with the literary and dramatic qualities of his librettos. ### Page 19 Downloaded from hlayiso.com (SEPTEMBER 2013) MUSIC P1 19 Concerto • The Concerto offers a unique fusion of lyricism and virtuosity. • Consists of three movements, played without pause. • Both first and third movements are in sonata form. • Good interplay between soloist and orchestra, with themes passing from one to another, producing a beautiful contrast of tone colour and expression. • The first movement begins with the soloist who presents the first theme above the murmuring strings. Traditionally the orchestra would have an extended opening section. • The piece uses a wide range of dynamics. • The concerto features unusual combinations of instruments. • The cadenza is placed between the development and the recapitulation to become an integral part of the movement. Symphonic • An orchestral composition that relates a particular poem story, picture or idea through the use of sound. • It depicts the flow of the Moldau through Czechoslovakia. • Two streamlets (one warm, and one cold), which are both represented by their own instruments (flute – cold; clarinet – warm). • The rivers converge into a large river – becomes the river theme. • A hunting exhibition is pictured by a dotted rhythm in the music. • A country dance has typical folk-like character. • The work is part of the cycle Má Vlast (My Country). • The piece is both a romantic representation of nature and a display of Czech nationalism. • Contrasting musical sections that represent different scenes and episodes described in the programme. • A recurring folk-like theme symbolises the river. • Running notes portray the running river. • Smetana uses musical effects that call to mind a flowing stream, a hunting scene, a peasant wedding and the crash of waves. • Hunting along the riverbank is suggested by horn fanfares. • The peasant wedding is suggested by a rustic polka. (8) [17] ### Page 20 Downloaded from hlayiso.com 20 MUSIC P1 (SEPTEMBER 2013) QUESTION 8: INTERNATIONAL POPULAR MUSIC 8.1 Give a brief definition of ONE of the following styles.  Heavy Metal  Rhythm & Blues Pop  Glam Rock  Brit Pop  Girl/Boy Bands Heavy Metal  Heavy metal is a genre of rock music that developed in the late 1960s and early 1970s, largely in the United Kingdom and the United States.  With roots in blues-rock and psychedelic rock, the bands that created heavy metal  developed a thick, massive sound, characterised by highly amplified distortion, extended guitar solos, and emphatic beats. Rhythm &  Although the acronym “R&B” originates from its Blues Pop association with traditional rhythm and blues music, the term R&B is today most often used to define a style of African American music originated after the demise of disco in the 1980s.  This newer style, often described as contemporary R&B, combines elements of soul, funk, pop, and from 1986 on, hip hop.  Uses of hip hop inspired beats are typical, although the roughness and grit inherent in hip hop is usually reduced and smoothed out. Glam Rock  Glam Rock is a sub-genre of Rock music.  Glam Rock uses all the stylistic elements of Rock and heavy metal, but the feel is lighter and faster.  Artists wear make-up and outlandish outfits and hairstyles Brit Pop  Brit Pop was a mid-1990s British alternative rock genre and movement that was at its most popular in Great Britain.  The movement emerged from the Indie scene of the early 1990s and was characterised by bands influenced by British guitar pop music of the 1960s and 1970.  The movement developed as a reaction against various musical and cultural trends in the late 1980s and early 1990s, particularly the grunge phenomenon from the United States. Girl/Boy  The 1990s and 21st century were marked by a Bands resurgence of boy band and girl group trends.  The music has specific stylistic traits such as a danceable beat, simple melodies, and repetitive structure so that people can catch on and join in easily. (3) ### Page 21 Downloaded from hlayiso.com (SEPTEMBER 2013) MUSIC P1 21 8.2 Name a representative artist/band of your chosen style in QUESTION 8.1 and mention what his/her/their contribution to this style was. REPRESENTATIVE CONTRIBUTION TO STYLE ARTIST/BAND HEAVY Metallica  Metallica expanded the limits of thrash, METAL using speed and volume  not for their own sake, but to enhance their intricately structured compositions. R&B Michael Jackson  Michael Jackson’s achievements in the POP music industry have included, among other things, a revolutionary transformation of music videos, epitomised by 1983’s Thriller, often cited as the greatest music video of all time.  He became the first black entertainer to amass a strong following on MTV while leading the relatively young channel out of obscurity.  His distinctive style, moves, and vocals have inspired, influenced, and spawned a whole generation of hip hop, pop, and R&B artists, including Mariah Carey, Usher, Britney Spears, Justin Timberlake, and Chris Brown, among others. GLAM David Bowie  In 1970 Bowie released The man Who ROCK Sold The World, rejecting the acoustic guitar sound of the previous album and replaced it with heavy rock accompaniment.  After a three-year period of experimentation he re-emerged in 1972 during the glam-rock era as a flamboyant, androgynous alter ego Ziggy Stardust. The relatively short- lived Ziggy persona epitomised a career often marked by musical innovation, reinvention and striking visual presentation.  Bowie was the only artist of this genre that made international stardom that eventually had an input in the development of Glam Metal (KISS) and other similar genres. ### Page 22 Downloaded from hlayiso.com 22 MUSIC P1 (SEPTEMBER 2013) BRIT Oasis  Stylistically, Oasis relied on catchy looks POP and wrote lyrics that were meant to be relevant to British young people of their own generation.  Due to Oasis, in 1994, the term Britpop, although used previously in the late 1980s, entered the popular consciousness, being used extensively by the music press and radio DJs. GIRL/ Spice  SPICE GIRLS: Spice Girls spread and BOY Girls/Westlife embraced the term “girl power” which BANDS formed the centrepiece of their appeal as a band. The phrase became a cultural phenomenon and was adopted as the mantra for millions of girls and even making it into the Oxford English Dictionary. In summation of the concept, author Ryan Dawson said, “The Spice Girls changed British culture enough for Girl Power to now seem completely unremarkable”.  WESTLIFE: Although yet another boy band, Westlife instantly became recognisable and different to other boy bands with their soaring melodies and rousing lyrics, the music injects an undeniably fresh approach to this genre. (3) (ONE FOR REPRESENTATIVE ARTIST/BAND AND TWO FOR THEIR CONTRIBUTION THEREOF.) [6] QUESTION 9: SOUTH AFRICAN CHORAL MUSIC Choose ONE of the choral works below and answer the questions that follow.  Monna e motenya  Plea from Africa  Gabi, Gabi 9.1 Name the composer. (1) 9.2 What unifying elements are evident in this choral work? (2) 9.3 What is the form of the work? (1) ### Page 23 Downloaded from hlayiso.com (SEPTEMBER 2013) MUSIC P1 23 9.4 Discuss the tonality and use of harmony in the work. Monna e Plea from Gabi, Gabi motenya Africa COMPOSER  Bonisile Gcisa  John Bokwe  Based on a SA praise song but arranged by William Powell. UNIFYING  Upbeat of 2  Dotted rhythm  Call (tenor) and response ELEMENTS quavers used used  18-bar phrase repeated continuously. throughout over and over. (8 bar  18-bar phrase  Verse: regular phrase comprising two 4- repeated over phrase bar phrases) and over. structure. FORM  Binary form  Introduction –  Binary form (African Form) (African Form) Verse – Chorus (AB) TONALITY  F major – no  F major – no  G major – no modulation AND modulation modulation  Lowered 7th used in alto HARMONY  Diatonic  Basic voice harmony functional  Dissonant 2nds and 9ths  Cadential harmonic used progressions used with four times. abundant use of V7 th.  Chromatic harmony occurs in bars 15-B natural (V7/V) and bar 25 – Eb (3) (V7/IV) [7] ### Page 24 Downloaded from hlayiso.com 24 MUSIC P1 (SEPTEMBER 2013) QUESTION 10: SOUTH AFRICAN TRADITIONAL MUSIC Answer EITHER QUESTION 10.1 OR 10.2 OR 10.3. 10.1 Kwaito: 10.1.1 Discuss the musical style of Kwaito. (7) 10.1.2 When and where did Kwaito originate? (2) 10.1.3 What message does Kwaito convey? (2) 10.1.1  Lyrics aimed at displaying constructive content.  Lyrics are shouted or chanted rather than sung or rapped.  Lyrics are sung in indigenous South African languages including Afrikaans.  Combines musical styles of Hip Hop, Kwaito, Mbaqanga and traditional African music.  Dark voice timbre.  Deep bass lines  Performances are usually with a back track instead of a live band. (7) 10.1.2  It developed in Johannesburg in the 1990’ s. (2) 10.1.3  Lyrics are often about life in the township – be it either negative or positive.  It represents young black South Africans – the talk and dress of the township. (2) OR 10.2 Music for social occasions: 10.2.1 You attended an African traditional ceremony which, as usual, includes an abundance of instrument playing, singing and dancing. Write an article for a journal that highlights the musical features of African music heard at this traditional ceremony. (11)  Poly rhythms – every percussion instrument playing their own rhythm.  Polyphony – many melodies sounding simultaneously  Overlapping of phrases  Call and response  Ostinato  Rhythm and/or melodic patterns repeated over and over.  Melodic singing with parallel intervals  Many different scales are used of which  the pentatonic scale is one.  Repetition of phrases over and over while a melody above is sung  In some African languages, the same word sung at different pitches could result in different meanings  Different types of songs, e.g. praise songs (11) ### Page 25 Downloaded from hlayiso.com (SEPTEMBER 2013) MUSIC P1 25 OR 10.3 Moppies and Ghomma songs: 10.3.1 Discuss the musical style of Moppies and Ghomma songs. (7) 10.3.2 When and where did Moppies and Ghomma songs originate? (2) 10.3.3 Name an example of ONE song. (2) 10.3.1  Typical of the Cape Malayans and traditionally in Afrikaans.  Traditionally performed on New Year’s Day or at social occasions.  Songs are always accompanied by a ghomma beat which is a two sixteenth and an eight note beat, accompanied by a ghomma drum.  There is a continuous tafa-te rhythm heard throughout the songs.  The orchestra consists of a guitar, mandolin, banjo and cello.  Moppies and ghomma songs are divided into 4 categories namely traditional wedding songs, Dutch (Afrikaans) folk songs, Moppies – humorous songs, ghomma-picnic songs.  Content of the songs is mostly light-hearted and funny – songs with a political content were sung during the apartheid to express opposition to the system.  Moppies and ghomma songs are accompanied by dance movements.  Traces of other cultures – The Khoi-Khoi, Indonesian, Indian and Madagascan, are evident in the songs. (ANY SIX FACTS) (7) 10.3.2 1800s in Cape Town (2) 10.3.3 Daar Kom die Alibama (2) [11] QUESTION 11: SOUTH AFRICAN COMPOSERS Write a paragraph on the musical style of ONE of the following composers. Refer to at least FOUR works by the composer.  Mzilikazi Khumalo  Niel van der Watt  S.J. Khosa [9] ### Page 26 Downloaded from hlayiso.com 26 MUSIC P1 (SEPTEMBER 2013) Mzilikazi Khumalo  Rhythm is used as a unifying element.  Despite the simplicity of his works, polyphonic textures are used.  Traditional diatonic harmonies are used.  Rhythmic patterns change quickly and are often intricate.  Syncopation is used abundantly  Parallel movement between voices in choral works is evident. (ANY FIVE FACTS) CANTATA  Ushaka Kasenzangakhona TRADITIONAL SONGS ARRANGED FOR CHOIR  Sangena; Bawo,  Thixo Somandla  Sizongena Laph’emzini.  Isibaya Esikhulu Se-Afrika  Ushaka Kasenzangakhona  Sangena; Bawo, Thixo Somandla (ANY FOUR WORKS) Niel van der Watt  Van der Watt makes use of extended tonality. Although the music is tonal, the music does not stay in the home key for long and modulates to distant related keys  His works do not often begin and end in the same key.  In a basic triadic construction, 2nds, 4ths, and 6ths are added to give subtle harmonic shadings.  Homophonic and polyphonic textures are used alternatingly. He often employs other polyphonic principles such as imitation.  He often uses syncopation to accent or to ‘bend’ words in order to create a specific atmosphere.  The atmosphere created by the text/lyrics determines his use of rhythm.  While Van der Watt’s early works show the influence of late romanticists like Rachmaninovff and Faurè, his mastery of harmony and counterpoint belies a deep understanding of and reverence for the great master Johann Sebastian Bach. ### Page 27 Downloaded from hlayiso.com (SEPTEMBER 2013) MUSIC P1 27 (ANY FIVE FACTS) SECULAR CHORAL TRADITIONAL CHORAL WORKS WORKS  Ai, meisie, meisie; SAB  African Dawn (1997)  Alleen; girls chorus  As good as new; WORKS FOR SOLOISTS orchestra; SATB (VOCAL)  Benediction; voice and RELIGIOUS CHORAL piano (1989) WORKS  Bitterbessie dagbreek;  A De-commercialised voice and piano American Christ’s mass  Die son sal weer skyn; (1995) voice and piano  Dinah Lee (1999); voice, INSTRUMENTAL WORKS piano, alto saxophone  Trio pour mam’selle and double bass leger e’stier; orchestra,  Dis my plek (1985); voice flute, clarinet, piano and piano  African Dawn (1997);  Drup drup druppeltjies orchestra (1980); voice and piano;  African Reflection  Dust of snow (1997); (1994); orchestra voice and piano  Afrika kerslied (1996); alto saxophone and piano  Aquarelle (1984); piano  Boabab (1988); orchestra  Con’Scertino (1992/1994); viola and piano (ANY FOUR WORKS) S.J. Khosa  Uses simple harmonies  Often uses rhythmical imitation  Often uses intervals of a third between the voices that move in the same direction, in his choral works.  All his choral works are sung a capella  The range of his vocal melodies never exceed an octave (ANY FIVE FACTS)  Mintiro Ya Vuluvula  Dzunse Ra Ndabezitha  Afrika Lontshwa  Famban’Kahle  Ndzhaka ya tinsimu (ANY FOUR WORKS) [9] ### Page 28 Downloaded from hlayiso.com 28 MUSIC P1 (SEPTEMBER 2013) QUESTION 12: MUSIC INDUSTRY You have composed a song that is being played on one of the radio channels to advertise a certain type of cellphone. Briefly explain the steps that the company had to take to prevent you from taking legal steps against them.  They first have to get permission from you to play the “ring tone.”  Agreement must be reached between you and the company concerning percentage of royalties.  You must be able to control the number of times your song can be ‘downloaded” from the internet.  The song can only be used according to your agreement; any new changes must first be discussed with you.  An agreement must be reached between you and the company that you are actually signing away your rights because your name will not appear anywhere. [5] TOTAL SECTION B: 65 GRAND TOTAL: 125 ### Page 29 28 MUSIEK V1 (SEPTEMBER 2013) VRAAG 12: MUSIEKBEDRYF Jy het ʼn liedjie wat op een van die radiokanale gespeel word om ʼn selfoon te adverteer geskryf. Beskryf kortliks die stappe wat die maatskappy moes neem om te verhoed dat jy regstappe teen hulle neem.  Hulle moet eers toestemming om die ‘luitoon’ te speel, van jou verkry.  ‘n Ooreenkoms moet tussen jy en die maatskappy aangegaan word rakende die persentasie tantieme aan jou verskuldig.  Jy moet die aantal kere wat die liedjie van die internet afgelaai kan word kan beheer.  Die liedjie kan slegs volgens julle ooreenkoms gebruik word, en enige nuwe veranderinge moet eers met jou bespreek word.  ‘n Ooreenkoms moet tussen jy en die maatskappy aan wie jy jou regte gee aangegaan word andersins sal jou naam nêrens verskyn nie. [5] TOTAAL AFDELING B: 65 GROOTTOTAAL: 125 Downloaded from hlayiso.com ### Page 30 (SEPTEMBER 2013) MUSIEK V1 27 (ENIGE VYF FEITE) SEKULêRE KOORWERKE TRADISIONELE  Ai, meisie, meisie; SAB KOORWERKE  Alleen; meisieskoor  African Dawn (1997)  As good as new; orkes; SATB WERKE VIR SOLIS (VOKAAL) GODSDIENSTIGE  Benediction; solostem KOORWERKE en klavier (1989))  A De-commercialised  Bitterbessie dagbreek; American Christ’s mass solostem en klavier (1995)  Die son sal weer skyn; solostem en klavier INSTRUMENALE WERKE  Dinah Lee (1999);  Trio pour mam’selle leger solostem, klavier, e’stier; orkes, fluit, klarinet, altsaksofoon en klavier kontrabas  African Dawn (1997);  Dis my plek (1985); orkes solostem en klavier  African Reflection (1994);  Drup drup druppeltjies orkes (1980); solostem en  Afrika kerslied (1996); alt- klavier; saksofoon en klavier  Dust of snow (1997);  Aquarelle (1984); klavier solostem en klavier  Boabab (1988); orkes  Con’Scertino (1992/1994); altviool en klavier (ENIGE VIER WERKE) S.J. Khosa  Gebruik eenvoudige harmonieë  Gebruik dikwels ritmiese nabootsing  In sy koorwerke gebruik hy dikwels ʼn interval van ʼn derde tussen stemme wat in dieselfde rigting beweeg.  Al sy koorwerke word a capella gesing  Die omvang van sy vokale melodieë in nooit groter as ʼn oktaaf nie (ENIGE VYF FEITE)  Mintiro Ya Vuluvula  Dzunse Ra Ndabezitha  Afrika Lontshwa  Famban’Kahle  Ndzhaka ya tinsimu (ENIGE VIER WERKE) [9] Downloaded from hlayiso.com ### Page 31 26 MUSIEK V1 (SEPTEMBER 2013) Mzilikazi Khumalo  Ritme is as ʼn verenigende element gebruik.  Ten spyte van die eenvoud van sy werke, is polifoniese teksture gebruik.  Tradisionele diatoniese harmonieë is gebruik.  Ritmiese patrone verander vinnig en is dikwels ingewikkeld.  Sinkopasie word in oorvloed gebruik.  Parallele beweging tussen stemme in koorwerke in duidelik. (ENIGE VYF FEITE) CANTATA  Ushaka Kasenzangakhona TRADISIONELE LIEDJIES VERWERK VIR KOOR  Sangena; Bawo,  Thixo Somandla  Sizongena Laph’emzini.  Isibaya Esikhulu Se-Afrika  Ushaka Kasenzangakhona  Sangena; Bawo, Thixo Somandla (ENIGE VIER WERKE) Niel van der Watt  Van der Watt maak gebruik van uitgebreide tonalitiet. Alhoewel die musiek tonaal is, bly dit nie lank in die hooftoonsoort nie en moduleer dan na verwante toonsoorte  Sy werke begin en eindig selde in dieselfde toonsoort.  In ʼn basiese akkoord-samestelling, word 2des, 4des, en 6des bygevoeg om subtiele harmoniese kleure te gee.  Homofoniese en polifoniese teksture word afwisselend gebruik. Hy gebruik ook dikwels ander polifoniese tegnieke soos nabootsing.  Hy gebruik dikwels sinkopasie om woorde te aksentueer of buig om ʼn spesifieke atmosfeer te skep.  Die atmosfeer wat deur die teks/lirieke geskep word, stel sy gebruik van ritme vas.  Terwyl van der Watt se vroeë werke die invloed van laat- Romantiese komponiste soos Rachmaninovff en Faurè toon, bewys sy bemeestering van harmonie en kontrapunt ʼn diepe begrip en eerbied vir Johann Sebastian Bach. Downloaded from hlayiso.com ### Page 32 (SEPTEMBER 2013) MUSIEK V1 25 OF 10.3 Moppies en Ghomma-liedjies: 10.3.1 Bespreek die musiekstyl van Moppies en Ghomma-liedjies. (7) 10.3.2 Waar en wanneer het Moppies en Ghomma-liedjies ontstaan? (2) 10.3.3 Noem EEN voorbeeld van ʼn liedjie. (2) 10.3.1  Tipies van die Kaapse Maleiers en tradisioneel in Afrikaans.  Tradisioneel of Nuwejaarsdag of op sosiale geleenthede gesing.  Liedjies word altyd deur ʼn ghomma maatslag, wat ʼn twee sestiende en ʼn agste-noot ritme is, en wat deur ʼn ghomma- trom begelei word.  Daar is ʼn herhaaldelike tafa-te-ritme wat in die liedjies gehoor word.  Die orkes bestaan uit ʼn kitaar, mandolien, banjo en tjello.  Moppies en ghomma-liedjies word in 4 kategorieë verdeel naamlik, traditionele trouliedjies, Nederduitse (Afrikaanse) volksliedjies, Moppies – humoristiese liedjies, ghomma- piekniek liedjies.  Die inhoud van die liedjies is grotendeels vrolik en snaaks – liedjies met ʼn politiese inhoud is gedurende apartheid, om weerstand teen die stelsel te betuig, gesing.  Moppies en ghomma-liedjies is deur dans-bewegings begelei  Spore van ander kulture – Die Khoi-Khoi, Indoniese, Indiese and Madagassies, is duidelik in hierdie liedjies. (ENIGE SES FEITE) (7) 10.3.2 1800’s in Kaapstad (2) 10.3.3 Daar Kom die Alibama (2) [11] VRAAG 11: SUID-AFRIKAANSE KOMPONISTE Skryf ʼn paragraaf oor die musiekstyl van EEN van die volgende komponiste. Verwys na ten minste VIER werke deur die komponis.  Mzilikazi Khumalo  Niel van der Watt  S.J. Khosa [9] Downloaded from hlayiso.com Text truncated here. 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