Music P1 Nov 2022 MG Eng_hlayiso.com_.pdf

Downloaded from hlayiso.com GRAAD 12 NATIONAL SENIOR CERTIFICATE GRADE 12 MUSIC P1 NOVEMBER 2022 MARKING GUIDELINES MARKS: 120 These marking guidelines consist of 33 pages. Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 2 DBE/November 2022 NSC – Marking Guidelines SECTION A: THEORY OF MUSIC (COMPULSORY) (90 minutes) Answer SECTION A on the QUESTION PAPER. Answer QUESTION 1 AND QUESTION 2.1 OR 2.2 OR 2.3 AND QUESTION 3.1 OR 3.2 AND QUESTION 4.1 OR 4.2. QUESTION 1 (25 minutes) Study the extract below and answer the questions that follow. Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 3 DBE/November 2022 NSC – Marking Guidelines 1.1 To which key does the extract modulate in bars 5 to 81? Answer: B minor 1 mark (1) 1.2 Name the interval at (a) according to type and distance. Answer: Diminished 7th 1 mark No ½ mark (1) 1.3 Notate the inversion of the interval at (b). Answer: 1 mark OR No ½ marks Any note value is acceptable. May be notated melodically. (1) 1.4 Rewrite the triad at (M) in the alto clef keeping the same pitch. Answer: OR Clef = ½ mark Notes = ½ mark (1) 1.5 Describe the triad at (N) according to type and position. Answer: Major, First inversion ½ + ½ = 1 mark (1) 1.6 Rewrite (X) using double the note values. Indicate the new time signature. Answer: Time signature = 1 mark Notes = 1 mark also accepted No mark for or (2) 1.7 Transpose (Y) a perfect fifth higher. Indicate the new key signature. Answer: Key signature = 1 mark Notes = 1 mark (2) Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 4 DBE/November 2022 NSC – Marking Guidelines 1.8 Write a suitable descending sequence in bar 6 using the motive at (Z). Write your answer on the score. Answer: 1 mark Partially correct answer: No other descending sequence will be harmonically correct. If partially correct answer is given, award only ½ mark. (1) 1.9 Study the pitches of the treble clef part in bars 1 and 2. Considering only these pitches, identify the type of scale. Answer: Pentatonic 1 mark (1) 1.10 Select the Italian term that means the opposite of rit. (ritardando). Make a cross (X) in the appropriate block. Answer: Accelerando Morendo Allargando 1 mark (1) 1.11 Write the ascending blues scale from the given note. Answer: OR ½ mark per note = 3 marks (3) [15] Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 5 DBE/November 2022 NSC – Marking Guidelines QUESTION 2 (25 minutes) Answer EITHER QUESTION 2.1 OR QUESTION 2.2. 2.1 Complete the opening below to form a twelve-bar melody in ternary form for any single-line melodic instrument of your choice. Name the instrument and supply a suitable tempo indication. Add dynamic and articulation indications in appropriate places. Concept answer: Instrument: Saxophone/Clarinet/Flute/Trumpet/Violin, etc. Tempo: Moderato/Allegretto, etc. OR 2.2 Complete the opening below in sol-fa notation OR in staff notation to form a twelve-bar melody in ternary form for voice. Name the voice type and supply a suitable tempo indication. Add dynamic indications at appropriate places. Do NOT add lyrics. Use only ONE notation system. Concept answer: Voice: Soprano/Alto/Tenor/Baritone Tempo: Moderato/Allegretto, etc. Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 6 DBE/November 2022 NSC – Marking Guidelines The melody will be marked according to the criteria below. DESCRIPTION MARK ALLOCATION Form and cadential 1 mark per phrase x 3 3 points Correctness Solfa notation: rhythmic and pitch indications Minus ½ mark per error up to 2 marks 2 Staff notation: beats per bar, note stems, grouping, spacing and accidentals Excellent Coherent and musical; phrases imaginatively define the 9–10 form; opening motive innovatively continued; successful use of key; melodic shape masterfully handled; creative Quality approach to choice of pitches and rhythm - Quality of melody and Good suitability of range Correct and musical; phrases clearly indicate the form; 7–8 opening motive sensibly continued; stable key; melodic - Appropriate tempo and shape satisfying; choice of pitches and rhythm accurate 10 dynamic indications Average enhance the quality of Musically not convincing; not all phrases clear; opening the answer 4–6 motive not well utilised; key unstable; melodic shape is - Musicality suspect; choice of pitches and rhythm unimaginative Not acceptable No musical sense; no sense of phrasing; opening 0–3 motive ignored; no sense of key; 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 7 DBE/November 2022 NSC – Marking Guidelines QUESTION 3 (10 minutes) Answer EITHER QUESTION 3.1 OR QUESTION 3.2. 3.1 Study the extract and answer the questions. 3.1.1 Figure the chords at (a) to (h) on the score using Roman numerals, e.g. viio6/viiob. Answer: See score 1 mark per chord = 8 marks Minus ½ mark if inversion or 7th is missing or incorrect (8) 3.1.2 Name the key and the cadence which is formed at (Z). Answer: Perfect cadence Eb Major 1 mark each = 2 marks (2) Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 8 DBE/November 2022 NSC – Marking Guidelines 3.1.3 Comment on the chord in the last bar. Answer:  It is the tonic chord of Eb major by implication only, because the 3rd (G) and the 5th (Bb) have been omitted  The only note present is Eb (root) in the bass and treble part  It is not a chord but only the tonic note of the new key E b major  It could be chord V in Ab major where the preceding chord is seen as a secondary dominant  The texture thins out to two parts in bar 12 (as in bars 5, 6 and 9) and therefore only the root note of the tonic is present Any ONE = 1 mark (1) 3.1.4 Name the type of non-chordal notes at (i) to (iv). Answer: (i) (Lower) Auxiliary note (ii) Suspension (iii) Passing note (iv) Anticipation 1 mark each = 4 marks (4) [15] OR Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 9 DBE/November 2022 NSC – Marking Guidelines 3.2 Study the extract below and answer the questions. Answer: 3.2.1 Identify the chords (a) to (h) and (j). Write chord symbols in the spaces provided above the stave, e.g. C/E. Answer: See score 1 mark per chord = 9 marks Minus ½ mark if inversion is incorrect (9) 3.2.2 Name the cadence which is formed at (Z). Answer: Perfect cadence 1 mark (1) Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 10 DBE/November 2022 NSC – Marking Guidelines 3.2.3 Comment on the use of the Fb in the treble part in bar 8. Answer:  Descending chromatic embellishment  Chromatic passing note  It is the flattened 9th added to Eb7 Any ONE = 1 mark (1) 3.2.4 Name the type of non-chordal notes at (i) to (iv). Answer: (i) (Accented) Passing note (ii) Suspension (iii) Anticipation (iv) (Upper) Auxiliary 1 mark each = 4 marks (4) [15] Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 11 DBE/November 2022 NSC – Marking Guidelines QUESTION 4 (30 minutes) Answer EITHER QUESTION 4.1 OR QUESTION 4.2. 4.1.1 Demonstrate the use of the leading note chord, followed by an imperfect cadence in the passage below. Answer: 1 mark per chord = 3 marks Minus ½ mark per error up to a maximum of 1 mark per chord (3) 4.1.2 Complete the four-part vocal harmonisation below by adding the alto, tenor and bass parts. Concept answer: Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 12 DBE/November 2022 NSC – Marking Guidelines The harmonisation will be marked according to the criteria below. DESCRIPTION MARK ALLOCATION Correctness Minus ½ mark per error but not more than 11 Notation, doubling, spacing, voice leading 1 mark per chord Chord progression 1 mark between each pair of chords 9 Choice of chords, correct use of cadence (except between bars 4 and 5) Excellent = 3½–4 marks Quality Good = 2½–3 marks Musicality, non-chordal notes, awareness 4 Average = 1½–2 marks of style and creativity Weak = 0–1 marks Note to marker: 24 Mark out of 24 must not contain a ½ mark (÷ 2) TOTAL 12 (12) [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. OR Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 13 DBE/November 2022 NSC – Marking Guidelines 4.2.1 Complete the following harmonic progression by filling in chords in the bass part. Use minims. Answer: 1 mark per chord = 3 marks Minus ½ mark per error up to a maximum of 1 mark per chord (3) 4.2.2 Complete the piece below by adding suitable harmonic material. Continue in the style suggested by the given material in bars 1 and 2. Concept answer: Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 14 DBE/November 2022 NSC – Marking Guidelines TThe answer will be marked according to the criteria below. DESCRIPTION MARK ALLOCATION Correctness Minus ½ mark per error but not more than 1 11 Notation, spacing, voicing mark per chord Chord progression 1 mark between each pair of chords (except Choice of chords, correct use of 9 between bars 4 and 5 and 8) cadence Excellent = 3½–4 marks Quality Good = 2½–3 marks Musicality, non-chordal notes, 4 Average = 1½–2 marks awareness of style, creativity Weak = 0–1 marks Note to marker: 24 Mark out of 24 must not contain a ½ mark (÷ 2) TOTAL 12 (12) [15] TOTAL SECTION A: 60 Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 15 DBE/November 2022 NSC – Marking Guidelines SECTIONS B, C, D, E: GENERAL MUSIC KNOWLEDGE (90 minutes) Answer SECTIONS B, C, D and E in the ANSWER BOOK. SECTION B: GENERAL (COMPULSORY) Note to marker: One mark will be allocated for each correct fact. Candidates must be credited for any correct answer not given in this marking guideline. QUESTION 5 5.1 Various options are provided as possible answers to the following questions. Write only the letter (A–D) next to the question numbers (5.1.1 to 5.1.5), e.g. 5.1.6 E. Answer: 5.1.1 B 5.1.2 C 5.1.3 D 5.1.4 D 5.1.5 A (5) 5.2 To what does 'piracy' refer in published and recorded music? Answer:  Downloading copyrighted music without paying for it  Sharing of digital music files (scores or recordings)  Copying of sheet music not in the public domain  Illegal copying of sheet music for private/public performance  Selling/distribution of illegally copied music scores and recordings Any TWO (2) 5.3 Explain the term performance royalties. Answer: A fee paid by the performer to SAMRO, who pays the composer for live public performance of music works 1 mark for 'fee paid' 1 mark for 'live public performance' (2) 5.4 For how long is copyright valid in South Africa? Answer: Valid for 50 years after the death of the composer, songwriter and author 1 mark (1) TOTAL SECTION B: 10 Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 16 DBE/November 2022 NSC – Marking Guidelines Answer SECTION C (IAM) OR SECTION D (JAZZ) OR SECTION E (WAM). SECTION C: INDIGENOUS AFRICAN MUSIC (IAM) Note to marker: Although the marking guideline is in bullet form the learners may answer in full sentences. QUESTION 6 6.1 Various options are provided as possible answers to the following questions. Write only the letter (A–D) next to the question numbers (6.1.1 to 6.1.5), e.g. 6.1.6 E. Answer: 6.1.1 D 6.1.2 B 6.1.3 D 6.1.4 D 6.1.5 C (5) 6.2 Indicate whether the following statements are TRUE or FALSE. Write down only 'true' or 'false' next to the question numbers (6.2.1 to 6.2.3). Answer: 6.2.1 True 6.2.2 True 6.2.3 True 3x1 (3) 6.3 Describe izibongo as used in maskanda. Answer:  Praise poetry performed in the middle of a maskanda song  Spoken text in a fast tempo  Sharing experiences, for example: poverty, inequality, migrancy, dispossession, clan names  Poetic devices such as: repetition, parallelism, imagery are used 2 marks (2) 6.4 Explain the use of the following performance techniques: Answer: 6.4.1 Guitar strumming in maskanda 6.4.2 Throat singing producing overtones mostly by women in isiXhosa music 6.4.3 Imitation of nature sounds (bird calls, wind, bellowing of a bull etc.) 3x1 (3) Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 17 DBE/November 2022 NSC – Marking Guidelines 6.5 Describe the following prominent features as found in kwela music: Answer: 6.5.1 Melody  Short repetitive melodic motives based on chordal notes  Narrow range, usually within an octave (only ½ mark)  Use of embellishments (only ½ mark) 6.5.2 Harmony  Harmonic cycle I – IV – I64 – V 6.5.3 Rhythm  Swing rhythm /lilting shuffle  Syncopation  3x1 (3) 6.6 To which style of music does 'isimanje manje' refer? Answer: Mbaqanga 1 mark (1) 6.7 Complete the table below by comparing the songs Banana Ba Rustenburg and Wamuhle. Write down only the answer next to the question numbers (6.7.1 to 6.7.3). Answer: 6.7.1 Mbaqanga 6.7.2 Saxophone 6.7.3 Major 3x1 (3) [20] Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 18 DBE/November 2022 NSC – Marking Guidelines QUESTION 7 Briefly explain what the song Melodi Yalla is about and why it is a good example of mbaqanga. Answer: Song content  The song is about Mahlathini and the Mahotella Queens declaring themselves the best performers of mbaqanga in the city  The lyrics suggest a show-off reminiscent of ukuqhatha (traditional competitive rituals/playful contest among herd boys) Style features It is a good example of mbaqanga because it demonstrates typical musical features such as:  Rhythmic vibrancy and dance elements  Strong bass line  Starts with a guitar introduction  Call and response between Mahlathini and the Mahotella Queens and/or between Mahlathini and the backing band  Cyclic chord progression used Any TWO answers for song content Any THREE answers for style features [5] QUESTION 8 Write notes that describe the song See You Later. Name the artist/band. Answer:  Because there are no lyrics, this is a purely instrumental version of the piece  The saxophone introduces the melody accompanied by guitar and drum kit  The penny whistle echoes the saxophone melody in the first and second phrases  The saxophone improvises on material from the original melody  It is a typical example of kwela music with a moderate tempo Artist  Lemmy Mabaso FOUR correct facts ONE mark for artist [5] Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 19 DBE/November 2022 NSC – Marking Guidelines QUESTION 9 9.1 Identify the song and the relevant artist/band from the extract below. Answer: Name of song  Wena Wedwa Artist/band  Thee Legacy Song = 1 mark Artist = 1 mark (2) 9.2 Explain where the musical extract is found in this song. Describe how the music changes at this point in the song. Answer: Where it is found  At the end of the song Description of changes  Changes from major to chromatic  The whole group sings in unison  Only a cappella with no vocal percussion (beat boxing) Where extract is found = 1 mark Description of changes = 2 marks (3) [5] Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 20 DBE/November 2022 NSC – Marking Guidelines QUESTION 10 Philip Tabane employs African spirituality which gives malombo music a distinctive quality. Write an essay in which you explain how African spirituality has influenced Philip Tabane's music. Refer to TWO of his songs/albums in your answer. Answer: Example of an introduction Philip Tabane grew up surrounded by malopo music due to his mother being a traditional healer. Listening to malopo music, watching their dances and observing how they communicated with ancestral spirits, had a great influence on his music. African Divinity Philip Tabane  African divinity songs are repetitive  Uses the 12-bar blues cyclic progression by nature  Communicates with the ancestors  In Ngwana Oya Lela and Phamba Madiba praise poetry, kudu horn and flute (which represents the baPedi Kiba pipe) are used to call upon the ancestors  Summons the ancestors  Music evokes ancestral spirits by using onomatopoeic vocal sounds which are then echoed on the guitar  Employs improvisation  Free interplay between the voice and the drum or the voice and the flute  The drum or the flute melodies are usually improvised  During rituals, drumming in  The drum rhythms used in e.g. Phamba conjunction with rattles, form the Madiba are those used by the diviners for accompaniment for the dancing of dancing, thereby evoking the spirits and both the healer and the patient as inducing a trance the ancestral spirits leave or enter  During performances Philip Tabane is known the patient's body to go into a trance  The leg rattles worn by diviners are always worn by Philip Tabane and his performers  Drumming carries traditional  In all his songs he makes extensive use of values, beliefs and customs African drums  Drums are vehicles for  Malombo drums made from the baobab tree communication (tree of the baPedi ancestors) are used as a vehicle for communication with the ancestors Songs/Albums  Phamba Madiba (White river)  Dithabeng  Kika Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 21 DBE/November 2022 NSC – Marking Guidelines Example of a conclusion The incorporation of African spirituality makes malombo a unique style that few have been able to emulate. The essay will be marked according to the following criteria: CRITERIA MARK ALLOCATION African divinity 5 Philip Tabane's music 5 Songs/Albums 2 Excellent An introduction, conclusion, with a = 3 marks substantial argument in the body of essay evident. Good An introduction, conclusion, with a = 2-2½ marks reasonable argument in the body of essay evident. Average Logical presentation and An introduction, conclusion, with an = 1½ marks insignificant argument in the body of 3 structure of the essay essay evident. Below average An introduction, conclusion with a weak = 1 mark argument in the body of essay evident. Weak A single paragraph: A poor attempt at an = ½ mark essay. Not acceptable = 0 marks Only facts in bullet form. TOTAL 15 [15] TOTAL SECTION C: 50 OR Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 22 DBE/November 2022 NSC – Marking Guidelines SECTION D: JAZZ Note to marker: Although the marking guideline is in bullet form the learners may answer in full sentences. QUESTION 11 11.1 Various options are provided as possible answers to the following questions. Write only the letter (A–D) next to the question numbers (11.1.1 to 11.1.5) in the ANSWER BOOK, e.g. 11.1.6 E. Answer: 11.1 11.1.1 A 11.1.2 B 11.1.3 D 11.1.4 D 11.1.5 D 5x1 (5) 11.2 Indicate whether the following statements on female mbaqanga groups are TRUE or FALSE. Write down only 'true' or 'false' next to the question numbers (11.2.1 to 11.2.3). Answer: 11.2.1 True 11.2.2 False 11.2.3 True 3x1 (3) 11.3 State THREE stylistic features of the music of Feya Faku. Answer:  Progressive and contemporary harmonic language  Rhythmic elements from traditional indigenous African music  Brass player (trumpet and flugelhorn) with a warm and soulful sound  Combines jazz with his Xhosa musical heritage  As soloist, is frequently featured with small jazz ensembles Any THREE (3) 11.4 With which South African jazz style do you associate the following? Answer: 11.4.1 Marabi 11.4.2 New jazz/jazz in exile 2x1 (2) Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 23 DBE/November 2022 NSC – Marking Guidelines 11.5 Define any TWO of the following terms: Answer: 11.5.1 Using an alternative chord than the one given in the lead sheet (replacing chords or re-harmonising) 11.5.2 Rhythmically sophisticated chordal accompaniment played on either piano or guitar using specific 'voicings' 11.5.3 Music created in the moment of performance, related to a pre- existing stimulus (chord progression, melody, etc) 2x1 (2) 11.6 Name ONE South African band associated with jazz in exile. Answer:  Brotherhood of Breath  Blue Notes  Union of (South) Africa 1 mark (1) 11.7 Complete the table below by comparing the Makgonatsohle Band with the Manhattan Brothers. Write down only the answer next to the question numbers (11.7.1 to 11.7.4). Answer: 11.7.1 Cyclic harmonic progression: I – IV – V – I OR I – IV – I64 – V – I 11.7.2 Mbaqanga 11.7.3 Marabi 11.7.4 Doo Wop/Swing/Ragtime 4x1 (4) [20] Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 24 DBE/November 2022 NSC – Marking Guidelines QUESTION 12 Describe TWO melodic and THREE rhythmic features which make Banana ba Rustenburg by Spokes Mashiyane typical of the kwela style. Answer: Melody  Melody is based on the broken chord patterns of the chords in the cyclic progression  Melody led by a solo wind player: saxophone (earlier music used penny whistle)  Melody is repetitive but later develops through improvisation Rhythm  Jive/Swing rhythms  Repetitive use of rhythm throughout song  Skiffle-like beat  Rhythm relentlessly propels forward Any TWO answers for melody Any THREE answers for rhythm [5] QUESTION 13 Discuss local and international influences on Zim Ngqawana's music style. Answer: Local  Rooted in African indigenous sounds  Fuses traditional ancient Xhosa (and other African) rhythms and songs  Influenced by Abdullah Ibrahim International  Contains references to e.g.: o Bop and funk o Samba and tango rhythms o Indian and Western classical music o Vocal chants o Norwegian folk traditions  Progressive approach to phrasing and cadences to align with international practices Any combination of local and international influences [5] Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 25 DBE/November 2022 NSC – Marking Guidelines QUESTION 14 14.1 Identify the extract below and the relevant South African singer who is associated with it. Answer:  Lakutshon 'ilanga  Miriam Makeba 2 marks (2) 14.2 Describe this song referring to the lyrics, style characteristics and specific vocal quality employed. Answer: Lyrics When the sun sets and the cows come back from grazing I will think of you When the moon rises on the other side of the sea and the birds return I will look around to find you in homes, on the streets, in hospitals and jails - until I find you  During apartheid freedom fighters would disappear and the loss of the lover is reflected in the song  The lyrics narrates a story of someone searching for their loved one who has gone missing and promises to search and find them even when the sun sets Music style characteristics  Ballad-style which is fitting for story-telling  Slow tempo reinforces the feeling of longing  Accompanied by: o a small jazz ensemble (bass and guitar), o comping on the guitar  Introduction on guitar  Jazz-influenced performance practice, e.g. sense of timing, articulation and emphasis Vocal quality  Warm and well-rounded/smooth tone  Husky/smoky character  Vocal influences reminiscent of Ella Fitzgerald and Sarah Vaughan 3 marks Maximum of 1 mark for each aspect (3) [5] Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 26 DBE/November 2022 NSC – Marking Guidelines QUESTION 15 Cape jazz is a unique, internationally recognised jazz style. Write an essay on the South African features that make Cape jazz recognisable and motivate why Abdullah Ibrahim's music is an outstanding example of this style. Refer to ONE of his songs/albums in your answer. Example of an introduction Cape jazz is a blend of ghoema, Kaapse klopse, church bands, langarm, African and Western music to form a typical Cape jazz sound that has been accepted as part of the international jazz scene. Answer: South African features Abdullah Ibrahim's music  Slave folksongs  Reflects the melancholic mood  Cape Malay songs  Comic elements  Khoi-san songs  Descending melodic movement  Church songs  Slow, solemn, even metre from hymns, e.g. The Wedding  Folk song harmony  Homophonic texture  Cape dance bands  Saxophone langarm dance music  African and  Rhythmic characteristics of isiXhosa amaXhosa music speech rhythms  Repetitive phrases/call and response features  Ostinato features  Mbira-like piano tone  Marching/Church bands  Use of brass and saxophone  Marabi music  Keyboard emphasis  Ragtime and swing influences  Township jive  Marabi groove and harmonic progression, e.g. Mannenberg  Kwela  Improvisatory character  Call and response  Street carnival parade  Kaapse klopse/Ghoema beat  Banjo and guitar sound  Harmonic instruments for accompaniment  Saxophone sound  Typical nasal quality and vibrato phrase endings  Goema beat  A blend of ghoema and swing  Slow ghoema drum beat, e.g. Mannenberg Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 27 DBE/November 2022 NSC – Marking Guidelines Song/album:  Mannenberg  The Wedding Example of a conclusion Abdullah Ibrahim's music, with the myriad South African features, has established Cape jazz as an international form of jazz. The essay will be marked according to the criteria below. CRITERIA MARK ALLOCATION South African features 5 Abdullah Ibrahim's music 6 Song/Album 1 Excellent An introduction, conclusion, with a = 3 marks substantial argument in the body of essay evident. Good An introduction, conclusion, with a = 2-2½ marks reasonable argument in the body of essay evident. Average An introduction, conclusion, with Logical presentation and = 1½ marks an insignificant argument in the 3 structure of the essay body of essay evident. Below average An introduction, conclusion with a = 1 mark weak argument in the body of essay evident. Weak A single paragraph: A poor = ½ mark attempt at an essay. Not acceptable = 0 marks Only facts in bullet form. TOTAL 15 [15] TOTAL SECTION D: 50 OR Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 28 DBE/November 2022 NSC – Marking Guidelines SECTION E: WESTERN ART MUSIC (WAM) Note to marker: Although the marking guideline is in bullet form the learners may answer in full sentences. QUESTION 16 16.1 Various options are provided as possible answers to the following questions. Write only the letter (A–D) next to the question numbers (16.1.1 to 16.1.5), e.g. 16.1.6 E. Answer: 16.1.1 D 16.1.2 B 16.1.3 D 16.1.4 D 16.1.5 C 5x1 (5) 16.2 Indicate whether the following statements on the development of opera are TRUE or FALSE. Write down only 'true' or 'false' next to the question numbers (16.2.1 to 16.2.3). Answer 16.2.1 False 16.2.2 True 16.2.3 False 3x1 (3) 16.3 Explain the term symphonic poem. Answer: An orchestral, (½) Romantic, (½) single-movement (½) work which has an extra-musical programme (½) (with a descriptive title) 4x½ (2) 16.4 Complete the table below on the Romantic features of Mendelssohn's Hebrides Overture. Write only the answer next to the question numbers (16.4.1 to 16.4.3). Answer: 16.4.1 Enlarged dynamic range (pp to ff) 16.4.2 Descriptive title and subtitle: Hebrides Overture, Fingal's Cave (The Lonely island) 16.4.3 Long lyrical melodies with an individual melodic style 3x1 (3) Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 29 DBE/November 2022 NSC – Marking Guidelines 16.5 The Mannheim school played a significant role in the development of various compositional techniques. Name any THREE of these techniques. Answer:  The Mannheim Rocket (a quick rising arpeggiated melodic line with a crescendo)  The Mannheim Roller (an extended crescendo with added tremolo effects)  The Mannheim Sigh (descending pairs of slurred notes)  The Mannheim Birds (imitation of birds chirping, using trills in the music)  The sudden cresc/decresc for the whole orchestra  The Mannheim Climax (a high-energy section of music where all instruments drop out except for the strings, usually preceded by a Mannheim Crescendo)  The Mannheim Grand Pause where the playing stops for a moment, resulting in total silence, then the playing continues at the same intensity level as before the pause.  Sudden accents: sf or sfp THREE correct answers No more than ONE mark for dynamics (3) 16.6 Describe in your own words what Beethoven's Pastoral Symphony depicts. Answer:  It paints a large-scale rural/rustic picture with different scenes through the use of orchestral music  Nostalgic trip down memory lane depicting the beauty and power of nature and people's reaction to it. ONE correct answer (1) 16.7 Complete the table below by supplying the missing information on the fourth movement of Beethoven's Symphony No. 6. PROGRAMMATIC CONTENT MUSICAL REPRESENTATION Light rain 16.7.1 Tremolo on the double bass and 16.7.2 timpani Lightning strikes 16.7.3 Answer: 16.7.1 Staccato pp quavers on the strings 16.7.2 Approaching thunder 16.7.3 Ascending arpeggios in the violins 3 x1 (3) [20] Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 30 DBE/November 2022 NSC – Marking Guidelines QUESTION 17 Write a paragraph in which you describe the structure and relevant keys of rondo form. Answer: Structure  ABACA (simple 5-part rondo) or ABACABA (7-part rondo form)  A piece that begins with a refrain (A section), alternating with episodes (B and C section). It may end with a coda  Each new section (B and C) contrasts in material with A Use of keys  The refrain (A section) is always in tonic  Episodes are in closely related keys (dominant, sub-dominant, relative major or minor) or the parallel major or minor key Any THREE answers for structure Any TWO answers for use of keys [5] QUESTION 18 Write a paragraph on the fifth movement on Beethoven's Symphony No. 6. Refer to the following aspects: title, form, tempo indication, use of opening motive and instrumentation. Answer: Title  Shepherd's song (Happy and grateful feelings after the storm)  Frohe und dankbare Gefühle nach dem Sturm Form  Sonata-rondo form Tempo  Allegretto Use of opening motive  The imitation of Alpine Horn in horn and clarinet  Main melody first heard in opening four bars, with slow tremolo accompaniment  Opening motive depicts a pastoral mood (6/8; F major) Instrumentation  Standard Classical Orchestra 5 marks Maximum of 1 mark for each aspect [5] Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 31 DBE/November 2022 NSC – Marking Guidelines QUESTION 19 19.1 Identify the composer and work from which the following extract was taken: Answer: Felix Mendelssohn, Hebrides Overture 2 marks (2) 19.2 State where this extract is found in the work. Describe how the motive is used in the four bars that follow. Answer:  It is the opening motive of the concert overture  The motive is repeated and treated sequentially (in the bars that follow)  The articulation as well as the register and instrumentation changes in certain places  The motive appears in B minor and is momentarily transformed by going to D major and then F# minor  It is the building motive of the first subject (sonata form) that binds the entire work together Any THREE = 3 marks (3) [5] QUESTION 20 In the opera, The Magic Flute, Mozart contrasts cheerful characters with more solemn characters. Write an essay in which you discuss how the characters Papageno and Sarastro are contrasted. Show the contrast by referring to the musical features of the following arias:  Der Vogelfänger bin ich ja (Yes, I am the birdcatcher)  O Isis und Osiris Answer: Example of an introduction In The Magic Flute, Papageno and Sarastro are polar opposites in the type of music shown in their arias. Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 32 DBE/November 2022 NSC – Marking Guidelines CHARACTER MUSIC FEATURES  Humble profession of bird  Papageno plays the flute catcher  Baritone voice  Sparse orchestral accompaniment  Simple character portrayed  Simple key of G major, as a peasant/common folk different from main key of E flat major  Moderate tempo, not technically challenging  Sings unpretentious folk-like Papageno melody Der  Happy-go-lucky, light-  Uses melodic decoration Vogelfänger hearted, comical and  Use of leaps in melody bin ich ja entertaining personality portrays positive character  Simple, diatonic harmony using mainly primary chords  Invokes an open, unreserved  Clear phrasing using a 4-bar and friendly mood structure  Homophonic texture enhances simple mood  Strophic form with clear cadences typical of folk music  Earnest profession of temple  Bass voice – heavy and deep priest  Choral introduction (with chorus)  Stable character in a  F major invokes solemnity responsible leadership and calm mood position  Slow tempo – reinforces calm  Clear phrasing creates balance which reinforces the Sarastro calm wisdom O Isis und  Low voice range Osiris  Noble and dignified  Homophonic texture (four-  High priest of wisdom, part hymn): sacred and represents stability and moral harmonically stable good  Strophic form incorporating chromatic harmony giving depth to the character  Invokes a staid, solemn,  Sparse orchestral reserved and more reasoned accompaniment mood  Legato, stepwise melody (undecorated) Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 33 DBE/November 2022 NSC – Marking Guidelines Example of a conclusion Papageno and Sarastro's arias depict the wide contrasts of character and mood found in The Magic Flute. The essay will be marked according to the following criteria: CRITERIA MARK ALLOCATION Papageno: THREE character traits correlating with THREE 6 Der Vogelfänger bin ich ja musical features (3 x 2 for two characters) Sarastro: O Isis und Osiris 6 Excellent An introduction, conclusion, with a = 3 marks substantial argument in the body of essay evident. Good An introduction, conclusion, with a = 2-2½ marks reasonable argument in the body of essay evident. Average Logical presentation and An introduction, conclusion, with an = 1½ marks insignificant argument in the body of 3 structure of the essay essay evident. Below average An introduction, conclusion with a weak = 1 mark argument in the body of essay evident. Weak A single paragraph: A poor attempt at an = ½ mark essay. Not acceptable = 0 marks Only facts in bullet form. TOTAL 15 [15] TOTAL SECTION E: 50 GRAND TOTAL: 120 Copyright reserved