Music Grade 12 Paper 1 NSC November 2015 Memo (English)

Downloaded from hlayiso.com GRAAD 12 NATIONAL SENIOR CERTIFICATE GRADE 12 MUSIC P1 NOVEMBER 2015 MEMORANDUM MARKS: 120 This memorandum consists of 36 pages. Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 2 DBE/November 2015 NSC – Memorandum INSTRUCTIONS AND INFORMATION 1. This question paper consists of FIVE sections, namely SECTIONS A, B, C, D and E. 2. SECTIONS A and B are compulsory. 3. 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. Write all music notation in SECTION A in pencil and all written text in blue or black ink on this question paper. 5. Answer SECTION B and SECTION C or D or E in blue or black ink in the ANSWER BOOK provided. 6. Number the questions correctly according to the numbering system used in this question paper. 7. The last page of this question paper is manuscript paper intended for rough work. Candidates may remove this page. 8. Candidates may NOT have access to any musical instrument for the duration of this examination. 9. Write neatly and legibly. Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 3 DBE/November 2015 NSC – Memorandum MARKING GRID SECTION QUESTION MARKS MARKER MODERATOR A: THEORY OF MUSIC 1 20 (COMPULSORY) 2 15 3 10 4 15 SUBTOTAL 60 AND B: GENERAL 5 20 (COMPULSORY) 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 Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 4 DBE/November 2015 NSC – Memorandum 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 Name the main key of this piece. Answer: C minor C minor = 1 mark (1) Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 5 DBE/November 2015 NSC – Memorandum 1.2 Name the intervals at 1.2.1 and 1.2.2 according to type and distance, for example Perfect 5th. Answer: 1.2.1: Major 2nd 1.2.2: Major 6th Major 2nd = 1 mark Major 6th = 1 mark (No mark for 2nd or 6th only) (2) 1.3 Name the triads at 1.3.1 and 1.3.2 according to type and inversion, for example Major, second inversion. (Consider only the notes in the block.) Answer: 1.3.1 Minor – first inversion 1.3.2 Diminished – first inversion Minor = ½ mark First inversion = ½ mark Diminished = ½ mark First inversion = ½ mark (2) 1.4 Circle the last FOUR notes (tetrachord) of an ascending melodic minor scale on the score. Answer: Bars 5 or 6 Any correct answer = 1 mark (1) 1.5 Transpose bar 2 of the solo part a major second higher. Add a new key signature. Answer: Correct key signature = 1 mark Notation = ½ mark per beat = 2 marks If key signature is wrong, but sound of transposition is correct (no enharmonics) = 2 marks (3) Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 6 DBE/November 2015 NSC – Memorandum 1.6 Transcribe bar 3 of the bass part for viola at the same pitch. Use the correct clef. Answer: Correct clef = 1 mark Correct key signature = 1 mark Transcription = 1 mark (Minus ½ mark per mistake to a maximum of 1 mark) (3) 1.7 Rewrite bar 4 of the solo part, but double the note values. Add a new time signature. Answer: Time signature = 1 mark Note values = 2 marks (Minus ½ mark per mistake to a maximum of 2 marks) If no key signature, no penalisation. (3) 1.8 Add FOUR notes to the following to form a Dorian mode: Answer: Notation = 1 mark Rhythm = 1 mark (Minus ½ mark per mistake to a maximum of 2 marks) (2) 1.9 Write an ascending sequence of the given melodic fragment. Answer: Sequence = 2 marks Sequence can start on any pitch higher than C (Minus ½ mark if the sequence is correct, but the placing is descending) (Minus ½ mark per mistake to a maximum of 2 marks) (2) Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 7 DBE/November 2015 NSC – Memorandum 1.10 Change the final chord of this extract on the score to form a tierce de Picardie (major chord). Answer: E-natural = 1 mark (1) [20] Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 8 DBE/November 2015 NSC – Memorandum 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. Concept answer: Instrument: Guitar/Saxophone/Clarinet/Trumpet Imperfect cadence in A Perfect cadence in A/relative minor A/E/f#/D: Perfect cadence in relative minor Imperfect cadence in A Perfect cadence in A Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 9 DBE/November 2015 NSC – Memorandum The melody will be marked according to the following criteria: Notes to marker: • Solfa notation will not be accepted. • If form is ABC instead of ABA = minus 1 (form). • If all cadences are incorrect, but form is evident = maximum 1 mark (form). CANDIDATE'S DESCRIPTION MARK ALLOCATION MARKS Form and cadential 1 mark per phrase x 3 3 points Correctness Note stems, beats per bar, Minus ½ mark per error up to 2 marks 2 accidentals, spacing, layout Excellent Coherent and musical; cadences imaginatively define the form; opening motif 9–10 innovatively continued; successful use of tonality; melodic shape masterfully handled; creative approach to choice of pitches and rhythm Quality Good - Quality of melody and Correct and musical; cadences clearly suitability for chosen indicate the form; opening motif sensibly 7–8 instrument continued; stable tonality; melodic shape - Appropriateness of satisfying; choice of pitches and rhythm 10 dynamic and articulation accurate indications – increases Average the quality of the answer Musically not convincing; not all cadences - Musicality 4–6 clear; opening motif not well utilised; tonality unstable; melodic shape suspect; choice of pitches and rhythm unimaginative Not acceptable No musical sense; no sense of cadence; 0–3 opening motif ignored; no sense of tonal centre; no melodic shape; pitches and rhythm random TOTAL Markers may use ½ marks 15 [15] OR Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 10 DBE/November 2015 NSC – Memorandum 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 answer: Instrument: Trombone/Bassoon/Bass (Guitar) Imperfect cadence in C Perfect cadence in C/relative major Perfect cadence in relative minor Imperfect cadence in C Perfect cadence in C Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 11 DBE/November 2015 NSC – Memorandum The melody will be marked according to the following criteria: Notes to marker: • Solfa notation will not be accepted. • If form is ABC instead of ABA = minus 1 (form). • If all cadences are incorrect, but form is evident = maximum 1 mark (form). CANDIDATE'S DESCRIPTION MARK ALLOCATION MARKS Form and cadential 1 mark per phrase x 3 3 points Correctness Note stems, beats per bar, Minus ½ mark per error up to 2 marks 2 accidentals, spacing, layout Excellent Coherent and musical; cadences imaginatively define the form; opening motif 9–10 innovatively continued; successful use of tonality; melodic shape masterfully handled; creative approach to choice of pitches and rhythm Quality Good - Quality of melody and Correct and musical; cadences clearly suitability for chosen indicate the form; opening motif sensibly 7–8 instrument continued; stable tonality; melodic shape - Appropriateness of satisfying; choice of pitches and rhythm 10 dynamic and articulation accurate indications – increases Average the quality of the answer Musically not convincing; not all cadences - Musicality 4–6 clear; opening motif not well utilised; tonality unstable; melodic shape suspect; choice of pitches and rhythm unimaginative Not acceptable No musical sense; no sense of cadence; 0–3 opening motif ignored; no sense of tonal centre; no melodic shape; pitches and rhythm random TOTAL Markers may use ½ marks 15 [15] Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 12 DBE/November 2015 NSC – Memorandum QUESTION 3 (10 minutes) Answer EITHER QUESTION 3.1 OR QUESTION 3.2. 3.1 Study the Chorale by JS Bach below and answer the questions that follow. Answer: Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 13 DBE/November 2015 NSC – Memorandum 3.1.1 This chorale modulates in bar 4. How is the new key in bar 4 related to the original key of the chorale? Answer: Dominant/V (of F major/original key) Dominant/V = 1 mark (1) 3.1.2 Identify the chords from (a)–(f) and figure them on the score. Use EITHER figuring below the score OR chord symbols above the score. See the example in bar 1. Answer: See score: 1 mark per chord = 6 marks (Minus ½ mark for each error) (Key indication not compulsory) Markers should mark either chord symbols (above) or figuring (below); not a mixture. V7(or any inversion) will be accepted Only V = no mark (6) 3.1.3 Name the type of non-chordal notes at (i) and (ii). Answer: (i) (Accented) Passing note (ii) Anticipation (i) Passing note = 1 mark (ii) Anticipation = 1 mark (2) 3.1.4 Name the cadence in bar 62–63. Answer: • Imperfect (cadence) Imperfect = 1 mark (No mark if only chords are given) (1) [10] OR Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 14 DBE/November 2015 NSC – Memorandum 3.2 Study the extract from You're Breaking My Heart by Pat Genaro and Sunny Skylar below and answer the questions that follow. Answer: 3.2.1 Identify the chords from (a)–(f) and figure them on the score. Use chord symbols above the score. See the example in bar 1. Answer: See score: 1 mark per chord = 6 marks (Minus ½ mark for each error) Roman numerals will not be accepted (6) 3.2.2 Name the type of non-chordal notes at (i), (ii) and (iii). Answer: (i) (Unaccented chromatic) Passing note (ii) (Accented) Passing note (iii) (Upper) Auxiliary (i) Passing note = 1 mark (ii) Passing note = 1 mark (iii) Auxiliary = 1 mark (No ½ marks) (3) Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 15 DBE/November 2015 NSC – Memorandum 3.2.3 Name the cadence in bars 83–9. Answer: • Perfect (cadence) Perfect = 1 mark (1) [10] Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 16 DBE/November 2015 NSC – Memorandum 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: (12 marks for progression) Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 17 DBE/November 2015 NSC – Memorandum The harmonisation will be marked according to the following criteria: CANDIDATE'S DESCRIPTION MARK ALLOCATION MARKS Chord progression Choice of chords, 1 mark between each pair of chords 12 correct use of cadence Correctness Minus ½ mark per error but not more Notation, doubling, than 1 mark per chord = 12 spacing, voice leading 12 chords from bar 32–81 • Excellent = 14–16 marks Quality • Good = 11–13 marks Musicality, non-chordal • Average = 8–10 marks 16 notes, awareness of • Weak = 4–7 marks style, creativity • Unacceptable = 0–3 marks Note to marker: 40 Mark out of 40 must not contain a (÷ 8 x 3) ½ mark TOTAL 15 Candidates must be credited for a 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. [15] OR Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 18 DBE/November 2015 NSC – Memorandum 4.2 Complete the piece below by adding a suitable bass line and harmonic material in the open staves. Continue in the style suggested by the given material in bars 1 and 2. Concept answer: Melody Chords Bass Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 19 DBE/November 2015 NSC – Memorandum The answer will be marked according to the following criteria: CANDIDATE'S DESCRIPTION MARK ALLOCATION MARKS Chord progression Choice of chords, 1 mark between each pair of chords 12 correct use of cadence Correctness Minus ½ mark per error but not more Notation, doubling, than 1 mark per chord = 12 spacing, voice leading 12 chords from bar 32–81 • Excellent = 14–16 marks Quality • Good = 11–13 marks Musicality, non-chordal • Average = 8–10 marks 16 notes, awareness of • Weak = 4–7 marks style, creativity • Unacceptable = 0–3 marks Note to marker: 40 Mark out of 40 must not contain a (÷ 8 x 3) ½ mark TOTAL 15 Candidates must be credited for a 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. [15] TOTAL SECTION A: 60 Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 20 DBE/November 2015 NSC – Memorandum 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 these 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 this memorandum. SECTION B: GENERAL (COMPULSORY) QUESTION 5 5.1 5.1.1 C 5.1.2 A 5.1.3 C 5.1.4 B 5.1.5 D 5.1.6 C 5.1.7 B 5.1.8 A 5.1.9 A 5.1.10 D 1 mark for each correct answer = 10 marks (10) 5.2.1 Ostinato • A music pattern that is persistently repeated while the other elements are changing Essential fact = 1 mark • Pattern can be melodic, harmonic or rhythmic • Often used in African music and in some 20th Century Western art music • Melodic-harmonic ostinati often used in Baroque music • Melodic-rhythmic ostinati often used in 20th Century • Called a riff in jazz and popular music • A music pattern which occurs mostly in the bass Any other fact = 1 mark (2) 5.2.2 Texture • The density of the music caused by the number of parts sounding together in a piece of music Essential fact = 1 mark • Monophonic: single melodic line • Homophonic: single melodic line with accompaniment • Polyphonic: several independent, overlapping melodic lines Any other fact = 1 mark (2) Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 21 DBE/November 2015 NSC – Memorandum 5.2.3 Chordophone • Any instrument of which sound is produced by a vibrating string Essential fact = 1 mark • Strings may be plucked, struck or bowed • Different pitches are produced by altering the effective length or tension of a string • One example Any other fact = 1 mark Any correct instrument will be accepted as example (2) 5.2.4 Polyrhythm • Simultaneous use of two or more rhythmic patterns (or time signatures) Essential fact = 1 mark If both rhythmic patterns and time signatures are mentioned, the full 2 marks are awarded • Simultaneous use of 3/4 and 6/8, for example • Also called cross-rhythms • Often used in traditional African music Any other fact = 1 mark (2) Note to marker: Only mark the first two answers if the candidate answered more than two terms. (2 x 2) (4) 5.3 SAMRO • Protects work through copyright • Keeps track of the public performance of a composition • Grants licences for the use of works on TV, radio and in other public performances • Collects payments for the public use of composition • Administers and pays out the necessary royalties for the use, performance and the copying of work (performing rights, mechanical rights and needletime rights) • Administers and pays out pensions • Collaborates on an international basis for the payment of royalties Any 4 correct facts = 4 marks (4) 5.4 BDAC 4x½=2 The position of each letter is marked separately (2) TOTAL SECTION B: 20 Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 22 DBE/November 2015 NSC – Memorandum Answer SECTION C (WAM) OR SECTION D (JAZZ) OR SECTION E (IAM). Note to marker: One mark will be allocated for each correct fact. Candidates must be credited for any correct answer not given in this memorandum. SECTION C: WESTERN ART MUSIC (WAM) QUESTION 6 6.1 Possible answers: Le Nozze di Figaro Don Giovanni Cosi Fan Tutti Title of opera = 1 mark (1) 6.2 (a) Papageno, Baritone (b) Sarastro, Bass 2 marks for the characters and 2 marks for voice types = 4 marks (4) 6.3 Because a magical flute guides Tamino through his trials and tribulations in the opera. (1) 6.4 Opera Buffa Opera Seria • Comic opera • Dramatic, serious opera or • Characters are usually tragic opera peasants and of the working • Characters usually legends, class heroes and villains • Spoken dialogue and songs • No spoken dialogue One fact about opera buffa = 1 mark One related fact about opera seria = 1 mark (2) 6.5 Aria Recitative • Regular metre • Speech-like metre • Reflective • Narrative • Clear melodic contour • Repeated pitches, limited • Action pauses contour • Accompaniment fuller and • Action continues continuous • Accompaniment lighter and interrupted One fact about aria = 1 mark One related fact about recitative = 1 mark (2) [10] Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 23 DBE/November 2015 NSC – Memorandum QUESTION 7 7.1 Classical elements • Classical tonal harmony • Mainly homophonic and some polyphonic texture • Classical form type (Classical Sonata or Allegro-Sonata form) • Standard Classical orchestra (e.g. the four sections of the orchestra) Any 2 elements = 2 marks (2) 7.2 Romantic features • Enlarged dynamic range (pp-ff) • Rubato • Lyrical melodies with an individual melodic style • Descriptive title / Programmatic elements • The depiction of aspects of nature through sound • New genre: Concert overture Any 2 elements = 2 marks (2) 7.3 Hebrides (Overture) Correct answer = 1 mark (1) [5] Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 24 DBE/November 2015 NSC – Memorandum QUESTION 8 8.1 Bridge/Link 8.2 Development 8.3 Recapitulation (Repetition is not accepted) 8.4 Second subject (Tonic key) 8.5 Coda Each correct answer = 1 mark [5] QUESTION 9 • Strings section: 1st violins, 2nd violins, violas, cellos, double basses Any 4 stringed instruments x ½ mark = 2 marks • Woodwind section: (2) flutes, (2) oboes, (2) clarinets, (2) bassoons Any 2 woodwind instruments x ½ mark = 1 mark • Brass section: (2) French horns and (2) trumpets 2 brass instruments x ½ mark = 1 mark • Percussion section: (2) timpani timpani = 1 mark [5] Naming of only sections of the orchestra = ½ mark = maximum 2 marks QUESTION 10 Element Fourth movement Form • Macrostructure of symphony extended from 4 to 5 movements • Movements 3–4 are linked (no interruption) • 4th movement moves smoothly into 5th– a novel idea • 4th is the climax of the three movements • 4th movement in free or episodic form – different scenes are depicted • Episodes (Sections/Phrases) linked to • programmatic content • Use of different motifs– e.g. rain motif, thunder and lightning motif, wind motif, etc. • Cadences are less obvious due to continuous forward drive of material which paints the storm through music Any 5 facts = 5 marks Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 25 DBE/November 2015 NSC – Memorandum Element Fourth movement Instrumentation • Standard classical orchestra • Added piccolo • Added trombones • Used timpani extensively for dramatic effect Any 2 facts = 2 marks Element Fourth movement Mood/ • Title: Thunderstorm/Storm Atmosphere • Programmatic elements, realistic portrayal of the storm: e.g. o Thunder: Timpani o Raindrops: Staccato on strings o Lightning strikes: Arpeggios on strings o Storm climax: Piccolo etc. (to a maximum of 2 marks) • Unpredictable movement, full of surprises • Wide dynamic range to depict ebb and flow of storm • Tempo: Allegro • F minor – main key helps to establish the ominous mood • Tonal instability to depict the agitation of the storm • Use of diminished sevenths for dramatic effect Any 5 facts = 5 marks The essay will be marked according to the following criteria: DESCRIPTION MARK ALLOCATION Form 1 mark for each correct fact 5 Instrumentation 1 mark for each correct fact 2 Mood/Atmosphere 1 mark for each correct fact 5 • Excellent = 3 marks • Good = 2 marks Logical presentation and structure 3 • Average = 1½ marks • Weak = ½ mark TOTAL 15 [15] TOTAL SECTION C: 40 OR Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 26 DBE/November 2015 NSC – Memorandum SECTION D: JAZZ QUESTION 11 11.1 Flügelhorn Correct answer = 1 mark (1) 11.2 • The Dark City Sisters • The Flying Jazz Queens Correct answer = 1 mark Any other correct answer will also be accepted (1) 11.3 • Solo pennywhistle playing • Moderate to upbeat tempo • Skiffle-like beat • Jive/Swing rhythms • Weaving of different melody lines together • Melody developed through improvisation 1 mark for each correct answer = 3 marks (3) 11.4 Harmony Harmony = 1 mark (1) 11.5 11.5.1 E jazz at home 11.5.2 C marabi 11.5.3 D Cape jazz 11.5.4 B New jazz 11.5.5 A recent years 11.5.6 F jazz in exile Each correct answer = 1 mark up to 4 marks Note to the marker: Mark only the first four answers if all questions were answered. (4) [10] Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 27 DBE/November 2015 NSC – Memorandum QUESTION 12 12.1 • Timbre: instrumentation and arrangements in big band style • Melody: free and flexible • Style: mbaqanga and kwela-style influences; hard-driving blues style 1 mark for each correct fact to a maximum of 2 = 2 marks (2) 12.2 • Moved away from the organised aspect of big band music • Free improvised music • Freedom and flexibility in playing • Brotherhood of Breath a mixture of hard-driving blues and wild experimentalism with a unique South African flavour • Combined kwela with more progressive ideas retaining an African- flavoured avant-garde sound 1 mark for each correct reason to a maximum of 2 = 2 marks (2) 12.3 • Duke Ellington/Thelonious Monk/Charles Mingus • Bela Bartok/Schoenberg • Dollar Brand/Cecil Barnard Any correct answer = 1 mark (1) [5] QUESTION 13 13.1 • Malombo • New jazz Correct answer = 1 mark (1) 13.2 • Blends traditional compositions and cultural themes • Fusing of musical traditions of the Bapedi and VhaVenda with jazz • African drums and hand percussion interplay with unique guitar and flute sounds • African rhythms provided by the bongo and malombo drums • Comprises song, dance and dramatic elements • Uses the 12-bar blues structure • Soothing major chords with occasional bursts of rapid playing and impassioned singing • Guitar, bass guitar, African drums, flute 1 mark for each correct fact to a maximum of 4 = 4 marks (4) [5] Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 28 DBE/November 2015 NSC – Memorandum QUESTION 14 14.1 Marabi Correct answer = 1 mark (1) 14.2 • Tiekiedraai (Cape folk dance) • Xhosa folk songs • Early American jazz • Ragtime and blues • Created by black urban working-class musicians at parties and shebeens • Used for social occasions, e.g. stokvel parties • 1920s in Johannesburg 1 mark for each correct fact to a maximum of 4 = 4 marks (4) [5] QUESTION 15 Origins – political landscape – Sophiatown: • People forced to work in the city due to legislation that restricted land ownership by black people • Early 1960s in the townships – Sophiatown new urban lifestyles of South Africa's black city dwellers • Loneliness of being away from the family – entertainment found at local shebeens • Sophiatown: legal status as a 'freehold' or multicultural area where new music develops • Sophiatown attracted the most adventurous performers of the new musical forms, and became a hotbed of the rapidly developing black musical culture • Radio used to spread propaganda and force a particular culture onto people • Radio only played American and Western music • Black musicians were forced to censor their own lyrics to receive airplay • The music was produced to make quick cash (pop music of that era) Any 5 facts for 5 marks Style characteristics: • Influenced by the earlier styles of marabi and kwela (a fusion between marabi and kwela) • The cyclic structure of marabi met with traditional dance styles such as the traditional Zulu indlamu • Mbaqanga keeps the dance-like stylistic characteristics but presents a more powerful sound and harder driving beat than kwela and other dance genres • The use of Western instruments allowed mbaqanga to develop into a South African version of jazz • The mbaqanga sound indicated a mix between Western instrumentation and South African vocal style Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 29 DBE/November 2015 NSC – Memorandum • A typical mbaqanga song begins with a brief improvised introduction featuring a rhythmically ambiguous line from a solo guitar • A four-bar sequence of chords, on which the entire piece is based, is set by the drums and bass guitar • Chord progressions: I – IV – I6/4 – V or I – IV – V – I • Close harmonies based on the female vocal style of the Mahotella Queens • Repetitive music themes • Call and response used in the vocal passages, as well as between voice and instrument • Call and response used between the lead vocalist and backing vocalist(s) • Bass lines play an important role in mbaqanga songs, because they do not only provide the harmonic framework, but often repeat rhythmic and melodic ideas found in the vocal lines • Lyrics: in the vernacular (various African languages) • Instrumentation: bass, drums, electric guitar, vocalist(s)/ensemble, electronic organ, brass, saxophone • Vocalisations, e.g. crepitations and ululations included Any 5 facts for 5 marks Songs and artists • Umjomela: Makgonatsohle Band • Bulugwe lami: Cool Crooners • Wamuhle: Soul Brothers • Pata Pata: Miriam Makeba Any 2 songs with corresponding artists = 2 marks The essay will be marked according to the following criteria: DESCRIPTION MARK ALLOCATION Origins 1 mark for each correct fact 5 Style characteristics 1 mark for each correct fact 5 Songs and artists 1 mark for each correct fact 2 • Excellent = 3 marks • Good = 2 marks Logical presentation and structure 3 • Average = 1½ marks • Weak = ½ mark TOTAL 15 [15] TOTAL SECTION D: 40 OR Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 30 DBE/November 2015 NSC – Memorandum SECTION E: INDIGENOUS AFRICAN MUSIC (IAM) QUESTION 16 16.1 • Ukupika • Ukuvamba 1 mark for each correct style = 2 marks (2) 16.2 • Ukuvamba – strumming chords percussively • Ukupika – a finger-picking style • In ukupika, the thumb plays Amadoda (lower strings) • The other fingers on the right hand (mainly the index finger) play a melody on Amantombazane (upper strings) (2) 16.3 VhaVenda Correct answer = 1 mark (1) 16.4 Isicathamiya Correct answer = 1 mark (1) 16.5 16.5.1 I amaSwati 16.5.2 G vhaVenda 16.5.3 D amaXhosa 16.5.4 H Batsonga 16.5.5 F Basotho 16.5.6 E amaNdebele 16.5.7 B Batswana 16.5.8 C Bapedi 16.5.9 A amaZulu Each correct answer = 1 mark up to a maximum of 4 marks Mark only the first four answers if all questions were answered. (4) [10] Copyright reserved

Downloaded from hlayiso.com Music/P1 31 DBE/November 2015 NSC – Memorandum QUESTION 17 17.1 • Adapted kiba to be performed on any instrument • Uses Bapedi drums: kiba, moropa wa diatla and ditinti • Bapedi language used in lyrics of praise-singing • Vocal techniques such as crepitations and vocal lilting used • Polyrhythms are prevalent • Traditional Sepedi music with a modern beat and instrumentation • Bapedi dance movements used in performances Any 4 facts = 4 marks (4) 17.2 • Philip Tabane • Malombo Correct answer = 1 mark (1) [5] QUESTION 18 (a) TSHIKONA • VhaVenda Features • Song-dance style practised by the VhaVenda people • Performed by both men and women • Men play pipes and women play drums • The pipes are tuned differently Function • Performed during important occasions, e.g. installation of a new king, or commemoration of the death of a king • Each chief has their own Tshikona band which accompanies him when he visits other villages • The Tshikona bands from the different villages often compete against one another Instrumentation • Mbila mutondo – 21-key xylophone • Mbila dzamadeza – 27-key lamellophone • Ngoma – huge pegged drum • Voices Marks will be allocated as follows: • Features = 2 marks • Function = 2 marks • Instrumentation = 1 mark TOTAL = 5 marks [5] OR Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 32 DBE/November 2015 NSC – Memorandum (b) BORANKANA • Batswana (BaKwena) Features • A song-dance style practised by the Batswana/BaKwena people • Performed by both young and old men • Women and girls play the role of singers and body percussionists • Uses the Setlhako and Sephuma rhythms Function • Used for entertainment • Performed during tribal activities • Traditional ceremonies Instrumentation • Clapping • Voices Marks will be allocated as follows: • Features = 2 marks • Function = 2 marks • Instrumentation = 1 mark TOTAL = 5 marks [5] OR Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 33 DBE/November 2015 NSC – Memorandum (c) MUCHONGOLO • Batsonga Features • A song-dance style practised by the Batsonga people • Performed by men (warriors) • Energetic bursts of movement • High lifting of feet and stomping • Drums are played in polyrhythmic fashion Function • War entertainment • Preparations for a campaign • Warrior readiness Instrumentation • Xigubu (double-headed drum) • Ncomone (type of tambourine) • Xitiringo (three-hole transverse flute) • Xitende (large gourd-resonated braced bow) • Mohambi (ten-slat xylophone) • Voices Marks will be allocated as follows: • Features = 2 marks • Function = 2 marks • Instrumentation = 1 mark TOTAL = 5 marks [5] (d) MOHOBELO • Basotho Features • A song-dance style practised by the Basotho people • Performed by men • Three main movements occur: • Bohobela (high kicks) • Molapo (leaps and twists) • Phethola letsoho (hand movements) Function • Traditional ceremony • Used for special occasions: • Swearing in of new chief • To honour the chief • For entertainment during the chief's ceremonial procedures Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 34 DBE/November 2015 NSC – Memorandum Instrumentation • Drums • Clapping • Voices Marks will be allocated as follows: • Features = 2 marks • Function = 2 marks • Instrumentation = 1 mark TOTAL = 5 marks [5] (e) ISITSHIKIZA • Ndebele Features • A Ndebele ceremonial song-dance • Performed by both women and men (but mostly by men) • Women do not raise their feet above the knees Function • Performed for traditional ceremonies • To honour the king • Performed to entertain the king • Warriors re-enact war stories Instrumentation • Clapping • Voices Marks will be allocated as follows: • Features = 2 marks • Function = 2 marks • Instrumentation = 1 mark TOTAL = 5 marks [5] Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 35 DBE/November 2015 NSC – Memorandum QUESTION 19 Drumming • Is derived from speech rhythm and therefore enhances communication within a community • Guides the dancing • Rhythms imitate spoken text and as a result reinforces cultural bonds • Focuses on cooperation rather than individualistic performance • Invites the ancestors into the ritual/ceremony Dance movements • Have non-verbal meaning which enhances communication • Give a community a sense of belonging and solidarity • Spontaneity of performance creates an impression of immediate, on-the-spot creation of dance • Preserves the community and unifies the audience and the performer 1 mark for each correct fact = 5 marks Drumming 3 marks + Dance 2 marks OR Drumming 2 marks + Dance 3 marks [5] QUESTION 20 Origins – political landscape – Sophiatown: • People forced to work in the city due to the Black Land Act, 1913 (Act 27 of 1913) • Early 1960s in the townships – Sophiatown new urban lifestyles of South Africa's black city dwellers • Loneliness of being away from the family – entertainment found at local shebeens • Sophiatown: legal status as a 'freehold' or multicultural area where new music develops • Sophiatown attracted the most adventurous performers of the new musical forms, and became a hotbed of the rapidly developing black musical culture • Radio used to spread propaganda and force a particular culture onto people • Radio only played American and Western music • Black musicians were forced to censor their own lyrics to receive airplay • The music was produced to make quick cash (pop music of that era) Any 5 facts for 5 marks Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 36 DBE/November 2015 NSC – Memorandum Style characteristics: • Influenced by the earlier styles of marabi and kwela (a fusion between marabi and kwela) • The cyclic structure of marabi met with traditional dance styles such as the traditional Zulu indlamu • Mbaqanga keeps the dance-like stylistic characteristics but presents a more powerful sound and harder driving beat than kwela and other dance genres • The use of Western instruments allowed mbaqanga to develop into a South African version of jazz • The mbaqanga sound indicated a mix between Western instrumentation and South African vocal style • A typical mbaqanga song begins with a brief improvised introduction featuring a rhythmically ambiguous line from a solo guitar • A four-bar sequence of chords, on which the entire piece is based, is set by the drums and bass guitar • Chord progressions: I – IV – I6/4 – V or I – IV – V – I • Close harmonies based on the female vocal style of the Mahotella Queens • Repetitive music themes • Call and response used in the vocal passages, as well as between voice and instrument • Call and response used between the lead vocalist and backing vocalist(s) • Bass lines play an important role in mbaqanga songs, because they do not only provide the harmonic framework, but often repeat rhythmic and melodic ideas found in the vocal lines • Lyrics: in the vernacular (various African languages) • Instrumentation: bass, drums, electric guitar, vocalist(s)/ensemble, electronic organ, brass, saxophone • Vocalisations, e.g. crepitations and ululations included Any 5 facts for 5 marks Songs and artists • Umjomela: Makgonatsohle Band • Bulugwe lami: Cool Crooners • Wamuhle: Soul Brothers • Pata Pata: Miriam Makeba Any 2 songs with corresponding artists = 2 marks The essay will be marked according to the following criteria: DESCRIPTION MARK ALLOCATION Origins 1 mark for each correct fact 5 Style characteristics 1 mark for each correct fact 5 Songs and artists 1 mark for each correct fact 2 • Excellent = 3 marks • Good = 2 marks Logical presentation and structure 3 • Average = 1½ marks • Weak = ½ mark TOTAL 15 [15] TOTAL SECTION E: 40 GRAND TOTAL: 120 Copyright reserved