Music Grade 12 P1 NSC November 2023 Question Paper (English)

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE GRADE 12 MUSIC P1 NOVEMBER 2023 MARKS: 120 TIME: 3 hours CENTRE NUMBER: EXAMINATION NUMBER: This question paper consists of 26 pages and 1 sheet of manuscript paper. Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 2 DBE/November 2023 NSC 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: INDIGENOUS AFRICAN MUSIC (IAM), SECTION D: JAZZ and SECTION E: WESTERN ART MUSIC (WAM) 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 answers 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 NOT remove this page. 8. Candidates may NOT have access to any musical instrument for the duration of this examination. 9. Candidates must take note of the mark allocation for each question to provide enough information in their answers. 10. Write neatly and legibly. Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 3 DBE/November 2023 NSC MARKING GRID SECTION QUESTION MARKS MARKER MODERATOR A: THEORY OF MUSIC 1 15 (COMPULSORY) 2 15 3 15 4 15 SUBTOTAL 60 AND B: GENERAL MUSIC KNOWLEDGE 5 10 (COMPULSORY) SUBTOTAL 10 AND C: IAM 6 20 7 5 8 5 9 5 10 15 SUBTOTAL 50 OR D: JAZZ 11 20 12 5 13 5 14 5 15 15 SUBTOTAL 50 OR E: WAM 16 20 17 5 18 5 19 5 20 15 SUBTOTAL 50 GRAND TOTAL 120 Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 4 DBE/November 2023 NSC 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 AND QUESTION 3.1 OR 3.2 AND QUESTION 4.1 OR 4.2. QUESTION 1 (25 minutes) 1.1 Add the correct time signature at each asterisk (*) indicated below. (2) 1.2 Complete a major triad in close position above the given root note. (1) 1.3 Write a diminished triad in first inversion that appears diatonically in the D harmonic minor scale. Use accidentals instead of a key signature. (1) 1.4 Study the extract below and answer the questions that follow. 1.4.1 Name the inversion of the interval at (M) according to type and distance. (1) 1.4.2 Write the interval at (N) as a compound diminished 5th. Use semibreves. (1) Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 5 DBE/November 2023 NSC 1.4.3 Name ONE articulation indication used in this extract. (1) 1.4.4 Give the Italian term for the sign above the last note. (1) 1.5 Write the scales below according to the given instructions. 1.5.1 A descending blues scale starting on the given note (2) 1.5.2 Fill in the missing notes under the asterisks (*) to complete a major scale starting and ending on the dominant. Do NOT use a key signature. (3) 1.6 Complete the following descending chromatic scale: (2) [15] Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 6 DBE/November 2023 NSC 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 at appropriate places. Instrument: __________________________ Tempo: __________________________ The melody will be marked according to the criteria below. DESCRIPTION MAX. MARK Form and cadential points 3 Correctness 2 Beats per bar, note stems, grouping, spacing and accidentals Quality 10 Suitability of instrument, tempo, articulation, dynamics, musicality TOTAL 15 [15] OR Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 7 DBE/November 2023 NSC 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. Voice type: __________________________ Tempo: __________________________ The melody will be marked according to the criteria below. DESCRIPTION MAX. MARK Form and cadential points 3 Correctness Sol-fa notation: rhythmic and pitch indications 2 Staff notation: beats per bar, note stems, grouping, spacing and accidentals Quality 10 Suitability of range, tempo, performance indications, musicality TOTAL 15 [15] Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 8 DBE/November 2023 NSC QUESTION 3 (10 minutes) Answer EITHER QUESTION 3.1 OR QUESTION 3.2. 3.1 Study the extract below and answer the questions. Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 9 DBE/November 2023 NSC 3.1.1 Figure the chords at (a) to (g) on the score using Roman numerals, e.g. viio6/viiob. (7) 3.1.2 Name the cadence formed at (Z) and figure the chords on the score. (3) 3.1.3 Comment on the bass line in bars 1 to 33. (1) 3.1.4 Name the type of non-harmonic notes at (i) to (iv). (i) (ii) (iii) (iv) (4) [15] OR Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 10 DBE/November 2023 NSC 3.2 Study the extract below and answer the questions. Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 11 DBE/November 2023 NSC 3.2.1 Identify the chords at (a) to (g). Write the chord symbols in the spaces provided above the staves, e.g. G/B. (7) 3.2.2 Name the cadence which is formed at (Z) and write the chord symbols at (m) and (n). (3) 3.2.3 Comment on the use of the Eb in bar 8. (1) 3.2.4 Name the type of non-harmonic notes at (i) to (iv). (i) (ii) (iii) (iv) (4) [15] Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 12 DBE/November 2023 NSC 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. Harmonise in crotchets (use a minim in bar 4) and demonstrate the following:  Passing second inversion ( ) progression (3)  Cadential second inversion ( ) progression (2)  Interrupted cadence (2)  Dominant seventh chord (1) The harmonisation will be marked according to the criteria below. DESCRIPTION MAX. MARK Choice of chords 15 Notation and voice leading 8 Quality 7 (30 ÷ 2) TOTAL = 15 [15] OR Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 13 DBE/November 2023 NSC 4.2 Complete the sixteen-bar piece below by adding suitable harmonic material. Continue in the style suggested by the given material in bar 1. Include the following:  Harmonic realisation of the given chord symbols (4)  ii – V – I progression in D (3)  At least ONE ʹsusʹ chord (chord with suspension) (1)  A 13th chord (1) Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 14 DBE/November 2023 NSC The answer will be marked according to the criteria below. DESCRIPTION MAX. MARK Choice of chords 15 Notation and voice leading 8 Quality 7 (30 ÷ 2) TOTAL = 15 [15] TOTAL SECTION A: 60 Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 15 DBE/November 2023 NSC SECTIONS B, C, D, E: GENERAL MUSIC KNOWLEDGE (90 minutes) Answer SECTIONS B, C, D and E in the ANSWER BOOK. SECTION B: MUSIC INDUSTRY (COMPULSORY) 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. 5.1.1 Parties who benefit from needletime rights are … A composers. B producers. C session artists. D All the above-mentioned (1) 5.1.2 Which ONE of the following is NOT a function of SAMRO? A SAMRO collects licence fees. B SAMRO pays royalties to composers. C SAMRO arranges funerals for its members. D SAMRO organises music competitions. (1) 5.1.3 Royalties are … A payments made to a composer of a song performed in public. B collected by licensing agencies. C paid to a legal beneficiary of a composer up to fifty years after the composerʹs death. D All the above-mentioned (1) 5.1.4 SAMPRA administers … A performance rights. B mechanical rights. C human rights. D needletime rights. (1) 5.1.5 A licence fee for the playing of background music is NOT paid by … A schools and hospitals. B prisons. C restaurants and malls. D private homes. (1) Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 16 DBE/November 2023 NSC 5.2 Name FOUR steps in the value chain before an instrumental piece of music is distributed. (2) 5.3 Explain the difference between members of CAPASSO and those of a recording company, e.g. EMI. (1) 5.4 Name TWO exclusive rights that copyright owners have regarding their own work. (2) TOTAL SECTION B: 10 Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 17 DBE/November 2023 NSC Answer SECTION C (IAM) OR SECTION D (JAZZ) OR SECTION E (WAM) in the ANSWER BOOK. SECTION C: INDIGENOUS AFRICAN MUSIC (IAM) 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. 6.1.1 Which ONE of the following instruments can produce two or more different notes at the same time? A Djembe B Dinaka C Lesiba D Mbira (1) 6.1.2 With which ONE of the following items is maskanda associated? A Amahubo B Organ sound C A cappella D Ukucothoza (1) 6.1.3 Which statement best defines polyrhythm? A The simultaneous combination of contrasting rhythms B A drummer moving rhythmically between the pitches of a drum C A combination of note values in a rhythmic composition D A combination of different pitches in a music composition (1) 6.1.4 Homophony is an element associated with … A tonality. B texture. C timbre. D None of the above-mentioned (1) 6.1.5 Which scale is typically used in indigenous African music? A Pentatonic scale B Whole-tone scale C Chromatic scale D All the above-mentioned (1) Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 18 DBE/November 2023 NSC 6.2 Define the following terms: 6.2.1 Amantombazane in maskanda (1) 6.2.2 Malombo music (1) 6.2.3 Crepitation (1) 6.3 Select TWO terms from the list below that best describe Spokes Mashiyane's Banana Ba Rustenburg:  Izihlabo  Kwela  Izibongo  Swing  Overtones  Umgqashiyo (2) 6.4 Describe the characteristics of ONE of the dances below. Write down the name of the dance. Refer to the following: cultural origin, description of dance, context and the name of an instrument.  Tshikona  Borankana  Muchongolo  Mohobelo  Isitshikitsha  Indlamu  Dinaka  Sibhaca (4) 6.5 Explain the spiritual role of music in African ceremonies. (3) 6.6 Choose a feature of kwela in COLUMN B that matches the element in COLUMN A. Write only the letter (A–G) next to the question numbers (6.6.1 to 6.6.3) in the ANSWER BOOK, e.g. 6.6.4 H. COLUMN A COLUMN B 6.6.1 Melody A I-IV-I-V 6.6.2 Harmonic progression B Bass line plays the melody 6.6.3 Rhythm C I-IV-V-IV D Short repetitive motives E Straight beat F Shuffle rhythm G Melorhythms (3) [20] Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 19 DBE/November 2023 NSC QUESTION 7 Explain how TWO of the following elements of music are used in African music:  Harmony  Melody  Rhythm [5] QUESTION 8 8.1 Describe TWO pre-performance rituals in isicathamiya. (2) 8.2 Choose THREE of the following components and explain the amaZulu cultural customs associated with EACH in isicathamiya:  Pitch  Rhythm  Composition  Performance techniques (3) [5] QUESTION 9 The following extract is a typical maskanda song: 9.1 Identify the artist of the extract above. (1) 9.2 Discuss the role of the backing vocalists as used in maskanda music. (4) [5] Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 20 DBE/November 2023 NSC QUESTION 10 Mbaqanga is a music style that developed as a result of changes in the political, social and cultural climate. Expand on this statement by discussing how these changes influenced the development of mbaqanga. Refer to the political, social and cultural background, as well as the relevant musical influences. Name ONE artist/band and ONE song. You will be credited for the logical presentation of facts and the structure of your essay. The essay will be marked according to the criteria below. CRITERIA MARK ALLOCATION Political, social and cultural background 5 Musical influences 5 Artist/Band and song 2 Logical presentation and structure of the essay 3 TOTAL 15 [15] TOTAL SECTION C: 50 OR Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 21 DBE/November 2023 NSC SECTION D: JAZZ 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. 11.1.1 Which scale is typically used in jazz music? A Pentatonic scale B Blues scale C Major scale D All the above-mentioned (1) 11.1.2 Which instrument is NOT typically part of a big band? A Oboe B Trombone C Drum kit D Saxophone (1) 11.1.3 Which statement best defines polyrhythm? A The simultaneous combination of contrasting rhythms B A drummer moving rhythmically between the pitches of a drum C A combination of note values in a rhythmic composition D A combination of different pitches in a music composition (1) 11.1.4 Homophony is an element associated with … A tonality. B texture. C timbre. D None of the above-mentioned (1) 11.1.5 Which ONE of the following items is NOT associated with kwela? A Straight rhythms B Primary chords C Improvisation D Cyclic harmony (1) Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 22 DBE/November 2023 NSC 11.2 Describe the following terms: 11.2.1 Cyclic chords 11.2.2 Ragtime rhythm 11.2.3 Swing rhythm (3) 11.3 Select TWO items that best describe Miriam Makebaʹs Lakutshonʹ Ilanga:  Bossa Nova  Ballad  A cappella  Slow shuffle-like rhythm  Bebop  Busking (2) 11.4 Answer the following questions regarding The Jazz Epistles: 11.4.1 Name TWO members of this band and name the instrument that EACH played. (2) 11.4.2 Name the style of music for which The Jazz Epistles became known. (1) 11.4.3 Name the album which they are famous for and state its importance in South African jazz history. (2) 11.5 Comment on the personal sound of Feya Fakuʹs music. (2) 11.6 Choose a feature of kwela in COLUMN B that matches the element in COLUMN A. Write only the letter (A–G) next to the question numbers (11.6.1 to 11.6.3) in the ANSWER BOOK, e.g. 11.6.4 H. COLUMN A COLUMN B 11.6.1 Melody A I-IV-I-V 11.6.2 Harmonic progression B Bass line plays the melody 11.6.3 Rhythm C I-IV-V-IV D Short repetitive motifs E Straight beat F Shuffle rhythm G Melorhythms (3) [20] Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 23 DBE/November 2023 NSC QUESTION 12 The following extract was composed by Abdullah Ibrahim: 12.1 Identify the composition. (1) 12.2 Explain how this extract is used in the piece identified in QUESTION 12.1. (4) [5] QUESTION 13 Discuss the origin and instrumentation of marabi. [5] QUESTION 14 Explain how harmony and rhythm are used in mbaqanga. [5] QUESTION 15 The Brotherhood of Breath was a big band created by Chris McGregor at the end of the 1960s while he was in exile. Expand on this statement by discussing how this band both conformed to and deviated from the style of a traditional big band. Refer to style, instrumentation and the role of improvisation in your answer. Explain how these characteristics manifested in the composition Mra. You will be credited for the logical presentation of facts and the structure of your essay. The essay will be marked according to the criteria below. CRITERIA MARK ALLOCATION Style 4 Instrumentation 2 The role of improvisation 2 Mra 4 Logical presentation and structure of the essay 3 TOTAL 15 [15] TOTAL SECTION D: 50 OR Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 24 DBE/November 2023 NSC SECTION E: WESTERN ART MUSIC (WAM) 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. 16.1.1 Another term for the word contrapuntal is … A monophonic. B homophonic. C heterophonic. D polyphonic. (1) 16.1.2 Which ONE of the following is an example of compound form? A Scherzo and trio B Sonata form C ABA form D Twelve-bar blues (1) 16.1.3 Choose the term that describes mood: A Tranquillo B Presto C Allegretto con moto D None of the above-mentioned (1) 16.1.4 Which instrument is NOT part of a string quartet? A Second violin B Double bass C Viola D None of the above-mentioned (1) 16.1.5 Transposition involves a change of … A key. B dynamics. C note values. D rhythm. (1) 16.2 Define the following terms: 16.2.1 Melodic sequence (1) 16.2.2 Trio ensemble (1) Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 25 DBE/November 2023 NSC 16.3 Choose TWO terms from the list below that best describe Papagenoʹs aria Der Vogelfänger bin ich ja from The Magic Flute by Mozart.  Attacca  Giocoso  Risoluto  Scherzando  Rubato  Grave (2) 16.4 Answer the following questions on opera: 16.4.1 Who were the founders of opera? (1) 16.4.2 Name ONE of the first composers of opera. (1) 16.4.3 Name the country where this genre originated. (1) 16.5 Indicate the keys of the different sections of the Hebrides Overture by Mendelssohn: 16.5.1 Exposition of the first theme (1) 16.5.2 Exposition of the second theme (1) 16.5.3 Recapitulation of the second theme (1) 16.6 Explain the main difference between abstract music and programme music. (2) 16.7 Answer the following questions on the minuet and trio form: 16.7.1 Name the overall form type. (1) 16.7.2 What is the key relationship between the minuet and the trio? (2) [20] Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P1 26 DBE/November 2023 NSC QUESTION 17 The following extract is sung by Tamino in The Magic Flute by Mozart: 17.1 Give the title of the aria. (1) 17.2 Explain how the specific mood is created by the musical features of this aria. (4) [5] QUESTION 18 Discuss the origin and orchestration of the Hebrides Overture by Mendelssohn. [5] QUESTION 19 Compare Mozartʹs overture to The Magic Flute to Mendelssohnʹs Hebrides Overture. Refer to context and form. [5] QUESTION 20 Beethoven's Symphony No. 6 in F major Op. 68 does not conform to the model of a typical Classical symphony. Expand on this statement by discussing Beethovenʹs contribution to the development of the symphony. Refer to form and structure, orchestration and programmatic features. You will be credited for the logical presentation of facts and the structure of your essay. The essay will be marked according to the criteria below. CRITERIA MARK ALLOCATION Form and structure 4 Orchestration 4 Programmatic features 4 Logical presentation and structure of the essay 3 TOTAL 15 [15] TOTAL SECTION E: 50 GRAND TOTAL: 120 Copyright reserved

Downloaded from hlayiso.com Music/P1 DBE/November 2023 NSC Copyright reserved