# Music Grade 12 Paper 1 NSC November 2023 Memo (English) > Grade 12 Music Paper 1 memorandum from the NSC November Exam 2023 (English), 39 pages. Read online or download the free PDF. - Page: https://www.hlayiso.com/library/music-p1-nov-2023-mg-eng/2268832d-cbeb-4565-b920-dd18e621f702 - Updated: 2026-10-29 - Subject: Music - Grade: Grade 12 - Document type: Memorandum - Year: 2023 - Exam period: NSC November Exam - Paper: 1 - Curriculum: CAPS - Pages: 39 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 NSC November 2023 Memo (English)](https://www.hlayiso.com/library/music-p1-nov-2023-mg-eng/2268832d-cbeb-4565-b920-dd18e621f702) ## About this document Music · Grade 12 · NSC November Exam · 2023. Memorandum. 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 GRAAD 12 NATIONAL SENIOR CERTIFICATE GRADE 12 MUSIC P1 NOVEMBER 2023 MARKING GUIDELINES MARKS: 120 These marking guidelines consist of 39 pages. Copyright reserved Please turn over ### Page 2 Downloaded from hlayiso.com Music/P1 2 DBE/November 2023 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 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. Answer: 1+1 (2) 1.2 Complete a major triad in close position above the given root note. Answer: 1 mark No ½ marks (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. Answer: OR 1 mark Any note value and octave placement is acceptable (1) Copyright reserved Please turn over ### Page 3 Downloaded from hlayiso.com Music/P1 3 DBE/November 2023 NSC – Marking Guidelines 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. Answer: Minor 3rd 1 mark No ½ marks (1) 1.4.2 Write the interval at (N) as a compound diminished 5th. Use semibreves. Answer: 1 mark No ½ marks (1) 1.4.3 Name ONE articulation indication used in this extract. Answer: Staccato/Legato/Slur/Mezzo-staccato Any ONE (1) 1.4.4 Give the Italian term for the sign above the last note. Answer: Fermata 1 mark (1) 1.5 Write the scales below according to the given instructions: 1.5.1 A descending blues scale starting on the given note. Answer: OR Minus ½ mark per error up to a maximum of 2 marks (2) Copyright reserved Please turn over ### Page 4 Downloaded from hlayiso.com Music/P1 4 DBE/November 2023 NSC – Marking Guidelines 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. Answer: ½ mark per note (3) 1.6 Complete the following descending chromatic scale: Answer: OR Minus ½ mark per error up to a maximum of 2 marks A maximum of two notes per letter name Any correct enharmonic notes are acceptable (2) [15] Copyright reserved Please turn over ### Page 5 Downloaded from hlayiso.com Music/P1 5 DBE/November 2023 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 at 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. Only use ONE notation system. Concept answer: Voice: Soprano/Alto/Tenor/Baritone Tempo: Moderato/Allegretto, etc. Copyright reserved Please turn over ### Page 6 Downloaded from hlayiso.com Music/P1 6 DBE/November 2023 NSC – Marking Guidelines The melody will be marked according to the following criteria: DESCRIPTION MARK ALLOCATION Form and cadential 1 mark per phrase x 3 3 points Correctness Sol-fa notation: rhythmic and pitch indications Minus ½ mark per error up to a maximum of 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 approach to choice of pitches and rhythm Quality Good Suitability of instrument Correct and musical; phrases clearly indicate the form; 7–8 opening motive sensibly continued; stable key; melodic (range), tempo, shape satisfying; choice of pitches and rhythm accurate 10 performance indications Average (articulation, dynamics), Musically not convincing; not all phrases clear; opening musicality 4–6 motive not well utilised; key unstable; melodic shape is suspect; choice of pitches and rhythm unimaginative Weak 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 ### Page 7 Downloaded from hlayiso.com Music/P1 7 DBE/November 2023 NSC – Marking Guidelines QUESTION 3 (10 minutes) Answer EITHER QUESTION 3.1 OR QUESTION 3.2. 3.1 Study the extract below and answer the questions. Answer: Copyright reserved Please turn over ### Page 8 Downloaded from hlayiso.com Music/P1 8 DBE/November 2023 NSC – Marking Guidelines 3.1.1 Figure the chords at (a) to (g) on the score using Roman numerals, e.g. viio6/viiob. Answer: See score 1 mark per chord = 7 marks Minus ½ mark if inversion or 7th is missing or incorrect (7) 3.1.2 Name the cadence formed at (Z) and figure the chords on the score. Answer: Interrupted cadence Cadence = 1 mark V - vi Chords = 2 marks (3) 3.1.3 Comment on the bass line in bars 1 to 33. Answer:  It creates a pedal point (on the tonic note, Eb)  The bass note Eb repeats while the harmony changes Any ONE ‘Repeats’ only = ½ mark (1) 3.1.4 Name the type of non-harmonic notes at (i) to (iv). Answer: (i) Anticipation (ii) Passing note (iii) (Lower) Auxiliary (iv) Suspension 4x1 (4) [15] OR Copyright reserved Please turn over ### Page 9 Downloaded from hlayiso.com Music/P1 9 DBE/November 2023 NSC – Marking Guidelines 3.2 Study the extract below and answer the questions. Answer: Copyright reserved Please turn over ### Page 10 Downloaded from hlayiso.com Music/P1 10 DBE/November 2023 NSC – Marking Guidelines 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. Answer: See score 1 mark per chord = 7 marks Minus ½ mark if inversion or 7th is missing or incorrect (7) 3.2.2 Name the cadence which is formed at (Z) and write the chord symbols at (m) and (n). Answer: Interrupted cadence Cadence = 1 mark C7 – Dm Chords = 2 marks (3) 3.2.3 Comment on the use of the Eb in bar 8. Answer:  It creates an upbeat to the next bar which is based on an E b chord  It anticipates the Eb chord following in bar 9  It does not belong to the Bb major chord in bar 8  It creates a Bbsus chord Any ONE ‘Non-harmonic note’ only = ½ mark (1) 3.2.4 Name the type of non-harmonic notes at (i) to (iv). Answer: (i) Anticipation (ii) Passing note (iii) (Lower) Auxiliary (iv) Suspension 4x1 (4) [15] Copyright reserved Please turn over ### Page 11 Downloaded from hlayiso.com Music/P1 11 DBE/November 2023 NSC – Marking Guidelines 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) Concept answer: The harmonisation will be marked according to the criteria below: DESCRIPTION MARK ALLOCATION Choice of chords 15 Number of mistakes ÷ 4 up to a maximum of 8 Notation and voice leading 8 marks Quality Overall impression and creativity 7 Note to marker: Mark out of 30 must not contain a ½ mark (30 ÷ 2) TOTAL 15 [15] Candidates must be credited for a different/creative and correct harmonisation not given in the marking guidelines. 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 ### Page 12 Downloaded from hlayiso.com Music/P1 12 DBE/November 2023 NSC – Marking Guidelines 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 “sus chord” (chord with suspension) (1)  A 13th chord (1) Concept answer: Copyright reserved Please turn over ### Page 13 Downloaded from hlayiso.com Music/P1 13 DBE/November 2023 NSC – Marking Guidelines The answer will be marked according to the criteria below: DESCRIPTION MARK ALLOCATION Choice of chords 15 Number of mistakes ÷ 4 up to a maximum of 8 Notation and voice leading 8 marks Quality Overall impression and creativity 7 Note to marker: Mark out of 30 must not contain a ½ mark (30 ÷ 2) TOTAL 15 [15] Candidates must be credited for a different/creative and correct chord symbols not given in the marking guidelines. The chord symbols serves as a guide for the marker, but no marks are allocated for the symbols as such. TOTAL SECTION A: 60 Copyright reserved Please turn over ### Page 14 Downloaded from hlayiso.com Music/P1 14 DBE/November 2023 NSC – Marking Guidelines SECTIONS B, C, D, E: GENERAL MUSIC KNOWLEDGE (90 minutes) SECTIONS B, C, D and E must be answered in the ANSWER BOOK. SECTION B: MUSIC INDUSTRY (COMPULSORY) Note to marker: One mark will be allocated for each correct fact. Candidates must be credited for any correct answer not given in these marking guidelines. 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 … Answer: D All of the above-mentioned 1 mark (1) 5.1.2 Which of the following is NOT a function of SAMRO? Answer: C SAMRO arranges funerals for its members 1 mark (1) 5.1.3 Royalties are … Answer: D All of the above-mentioned 1 mark (1) 5.1.4 SAMPRA administers … Answer: D Needletime rights 1 mark (1) 5.1.5 A licence fee for the playing of background music is NOT paid by … Answer: D Private homes 1 mark (1) 5x1=5 5.2 Name FOUR steps in the value chain before an instrumental piece of music is distributed. Answer:  Conceptualisation of a music idea  Composing the piece  Contracting a publisher  Arranging of parts  Recording of performance  Registering with a music rights organisation Optional answers:  The piece is written down  Public performance 4x½ (2) Copyright reserved Please turn over ### Page 15 Downloaded from hlayiso.com Music/P1 15 DBE/November 2023 NSC – Marking Guidelines 5.3 Explain the difference between members of CAPASSO and those of a recording company, e.g. EMI. Answer:  CAPASSO members are composers, authors and publishers of music, while  recording company members are performing artists ONE correlating fact (1) 5.4 Name TWO exclusive rights that copyright owners have regarding their own work. Answer: Copyright ownership of a work allows the owners to:  Reproduce and make copies of the original work  Publish the work  Arrange/Adapt the work  Distribute the work  Perform the work publicly  Broadcast/Stream the work  Display the work Any TWO (2) TOTAL SECTION B: 10 Copyright reserved Please turn over ### Page 16 Downloaded from hlayiso.com Music/P1 16 DBE/November 2023 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 these marking guidelines are in bullet form the candidates 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. 6.1.1 Which ONE of the following instruments can produce two or more different notes at the same time? Answer: D Mbira 1 mark (1) 6.1.2 With which ONE of the following items is maskanda associated? Answer: A Amahubo 1 mark (1) 6.1.3 Which statement best defines polyrhythm? Answer: A Simultaneous combination of contrasting rhythms 1 mark (1) 6.1.4 Homophony is an element associated with … Answer: B Texture 1 mark (1) 6.1.5 Which scale is typically used in indigenous African music? Answer: A Pentatonic scale 1 mark (1) 5x1=5 6.2 Define the following terms: Answer: 6.2.1 Amantombazane in maskanda  Finger picking style on the guitar where the fingers of the right hand, mainly the index finger, play a melody on the upper strings (1) 6.2.2 Malombo music  A style of jazz with Bapedi and vhaVenda music influences, in which the malombo drums are an essential ingredient (1) 6.2.3 Crepitation  It is a vocal sound used to exhort short excitement or approval during a performance, e.g. animal sounds, grunts, etc. (1) 3x1=3 Copyright reserved Please turn over ### Page 17 Downloaded from hlayiso.com Music/P1 17 DBE/November 2023 NSC – Marking Guidelines 6.3 Select TWO terms from the list below that best describe Spokes Mashiyane’s Banana Ba Rustenburg: Answer: Kwela Swing 2 marks (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. 6.4.1 Tshikona 6.4.2 Borankana 6.4.3 Muchongolo 6.4.4 Mohobelo 6.4.5 Isitshikitsha 6.4.6 Indlamu 6.4.7 Dinaka 6.4.8 Sibhaca Answer: DANCE DANCE FEATURES 6.4.1 Tshikona Cultural origin  vhaVenda Description  Men dancing in a circular formation from the middle of the area going outwards Context  Performed during important occasions such as the inauguration or death of a king Instruments  Nanga  Ngoma  Thungwa  Murumba 6.4.2 Borankana Cultural origin  Batswana Description  Males performing quick rhythmic steps with their arms mimicking the horns of a cow Context  Historically performed during tribal activities only  Setapa for boys performing diphatisi  Setapa is danced by elderly men during wedding ceremonies Copyright reserved Please turn over ### Page 18 Downloaded from hlayiso.com Music/P1 18 DBE/November 2023 NSC – Marking Guidelines Instruments  Phala  Matlawana  Clapping 6.4.3 Muchongolo Cultural origin  vaTsonga Description  A male dance in which high lifting of feet and stomping (ku chongolo) while standing in one position are used while women play the drums Context  A war dance/song style used for the inauguration of a king Instruments  Xighubu  Fayi  Ncomone  Xitiringo  Xitende  Mohambi  Voice 6.4.4 Mohobelo Cultural origin  Basotho Description  A male dance in which dancers stride, slide and stomp while swinging decorated sticks Context  Historically used to energise warriors Instruments  Singing  Drums 6.4.5 Isitshikitsa Cultural origin  amaNdebele Description  Originally a female dance in which the raising of feet and stomping are the main features Context  A ceremonial dance historically performed for the king’s pleasure and for a rainmaking ceremony (injelele) Instruments  Singing  Clapping  Whistling Copyright reserved Please turn over ### Page 19 Downloaded from hlayiso.com Music/P1 19 DBE/November 2023 NSC – Marking Guidelines 6.4.6 Indlamu Cultural origin  amaZulu Description  Originally a male war dance in which dancers stand in one line with a leader (igosa) in front; isizingili uses less stamping but more stepping and kicking while isikhuze uses harder stamping Context  Historically a war dance however now used for entertainment Instruments  Isigubhu 6.4.7 Dinaka Cultural origin  Bapedi Description  Performed by up to twenty men dancing and playing wind instruments (where each one plays only one note), wearing kilts which they swing vigorously during performance Context  A dance originally performed by warriors returning from successful battles, nowadays intended for social and tribal ceremonies Instruments Drum section  Kiba  Kaedišo  Dothopana Reed/Wind section  Phalola  Phalolana  Kgomo  Kgongwana  Sereko  Phetudi  Teledi Horn section  Letsie  Phalafala Copyright reserved Please turn over ### Page 20 Downloaded from hlayiso.com Music/P1 20 DBE/November 2023 NSC – Marking Guidelines 6.4.8 Sibhaca Cultural origin  amaXhosa Description  A male dance with strong amaZulu influences in which the dancers swing their legs towards the underarm followed by stomping in unison Context  A dance developed by migrant labourers intended for entertainment Instruments  Isighubu  Impempe  Clapping  Singing 4x1 (4) 6.5 Explain the spiritual role of music in African ceremonies. Answer:  Music is the means to communicate with the ancestral spirits  Certain songs induce a trance-like state where a spirit enters the body  Music brings the community together by reinforcing values and beliefs  Specific songs are linked to a specific ceremony, e.g. dikoma/umtshilo/domba are only sung during initiation Any THREE (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. Answer: 6.6.1 D 6.6.2 A 6.6.3 F 3x1 (3) [20] Copyright reserved Please turn over ### Page 21 Downloaded from hlayiso.com Music/P1 21 DBE/November 2023 NSC – Marking Guidelines QUESTION 7 Explain how TWO of the following elements of music are used in African music:  Harmony  Melody  Rhythm Answer: Harmony  Four-part harmony with primary chords  SATB/TTBB in choral works  Parallelism in chord movement Melody  Cyclical, highly repetitive, with multiple entries at times  Call and response  Vocal music normally has two contrasting parts to create a call and response effect which can be performed in the following ways: o a soloist with chorus response o a duet, where one singer takes the lead or singers alternate with one another o an interlocking method where each singer adds a line or note at a particular point  Melodies form polyphonic textures to enhance rhythmical interest  New melodies improvised over the original (at times it contributes to a polyphonic texture)  Melody lines are related to tonal inflections in spoken language, the melody follows the sound of the spoken dialect – the word tone dictates which note the singer selects Rhythm  In traditional African music the beat/metre may be regular or irregular but modern African music has mostly a regular beat  African music seldom changes tempo  Melorhythm is used extensively  Rhythm may be derived from spoken text  Polyrhythm is a result of (rhythmical) layering and is closely connected to the dances  The addition of whistling, ululation, clapping hands and stamping feet contribute to the rhythmic drive Maximum of THREE marks per element [5] Copyright reserved Please turn over ### Page 22 Downloaded from hlayiso.com Music/P1 22 DBE/November 2023 NSC – Marking Guidelines QUESTION 8 8.1 Describe TWO pre-performance rituals in isicathamiya. Answer:  While waiting backstage, the group members first pray in a circle  The key of the first song is given by the leader and then the whole group hums the key with their heads bowed  The group stands in a semi-circle on stage with the leader at the front before they start the performance Any TWO (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 Answer: CULTURAL CUSTOMS  Determining a suitable pitch for a performance is compared to the convergence of the horns of a beast as demonstrated in the pre-performance ritual of humming Pitch with bowed heads  Meeting/converging of the bull horns (izimpondo zenkomo) is associated with harmony and strength  Rhythm-making is described as ukubasa (making fire) o Iziko (fire place) is very important and located in the Rhythm centre of the traditional Zulu hut o In the same way that fire is symbolic of life, rhythm is the heart of music  Belief in the saying that 'umuntu ngu muntu ngabantu', e.g. when building a hut, members of the community come together to help; o The song composition is shared as they do when Composition building a hut (ukwakha) o The composer teaches only his part (indlela) and the rest of the group follow with their own parts (izigqi)  Some of the songs are also inspired by dreams of songs given to them by ancestors  Belief in animals associated with strength and power Performance symbolically portrayed, e.g. crepitations imitating animal techniques sounds 3 marks (3) [5] Copyright reserved Please turn over ### Page 23 Downloaded from hlayiso.com Music/P1 23 DBE/November 2023 NSC – Marking Guidelines QUESTION 9 The following extract is a typical maskanda song: 9.1 Identify the artist of the extract above. Answer: Inkunz’ Emdaka 1 mark (1) 9.2 Discuss the role of the backing vocalists as used in maskanda music. Answer:  Backing vocalists are an integral element in maskanda music  They set the tone and mood  Backing vocalists do "ukuvuma ingoma" (to sing along in agreement with what the lead vocalist is singing)  They are vital in the overall arrangement of the maskanda song  They must have a solid understanding of music concepts in order to provide rhythmic drive and harmonic support  The backing vocalists also serve as the band’s dancers Any FOUR (4) [5] Copyright reserved Please turn over ### Page 24 Downloaded from hlayiso.com Music/P1 24 DBE/November 2023 NSC – Marking Guidelines 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. Answer: Example of an introduction South Africa’s turbulent history resulted in a melting pot for European and indigenous musical influences. Colonisation and urbanisation transformed the traditional way of living and music-making among the black population, which led to the music style mbaqanga. Political, social and cultural background  The gold mines brought radical changes in the social structure o The changed economic conditions forced black men to look for work in mines where they were housed in compounds o In the mines people from different ethnic groups were brought together o As various ethnic groups met they learnt from each other  A new social life began to emerge which reflected in music of black people as a whole o People came to the cities to find work and Sophiatown was founded, which accommodated people across all racial lines o In Sophiatown various musical styles evolved as a result of intermingling of cultures  The influence of mission schools was evident: o The mission schools taught Western church music o This resulted in traditional music being seen as an inferior music by some o The working class wanted music that would reflect their urban lifestyle o The hymns influenced the development of mbaqanga  Radio propaganda: o Used to force Western culture onto people o Radio would only play mostly American popular music o Black artists were forced to adapt lyrics to suit the prescriptions of the radio stations Copyright reserved Please turn over ### Page 25 Downloaded from hlayiso.com Music/P1 25 DBE/November 2023 NSC – Marking Guidelines Musical Influences  Some traditional instruments were replaced by Western instruments, e.g. one-string bow replaced by guitar  More popular use of Western instruments, e.g. saxophones, electric organ, accordion, drums, electric guitar and electric bass  Various styles of American music: o Soul music – as popularised by Aretha Franklin and Percy Sledge o Rock 'n Roll – Chuck Berry o The Twist, associated with African-American performers o Gospel music and R&B o American jazz music broadcast on the SABC in the early 1950s  Church music o Four-part choral harmony o Hymn melodies, using primary chords I-IV-V  Marabi and kwela influences o Use of primary chords o Repetition of short harmonic cycles o Use of short melodic riffs o Piano-based marabi sound influenced the mbaqanga keyboard sound o Saxophone replaced the penny whistle of the kwela o Mbaqanga rhythms derived from marabi/tsaba-tsaba Artist/Band  Simon 'Mahlathini' and the Mahotella Queens  Soul Brothers Song  Melodi Yalla  Wamuhle Example of a conclusion It is evident that mbaqanga developed and was influenced by several factors that prevailed in South Africa during the first half of the 20th century. Music became a vehicle through which the black population could construct their identities. Since this music is a mixture of ingredients, its features echo in most African musical genres as well. Copyright reserved Please turn over ### Page 26 Downloaded from hlayiso.com Music/P1 26 DBE/November 2023 NSC – Marking Guidelines The essay will be marked according to the following criteria: CRITERIA MARK ALLOCATION Political, social and 5 cultural background Musical influences 5 Artist/Band and song 2 Excellent An introduction and conclusion, with a = 3 marks substantial argument in the body of essay Good An introduction and conclusion, with a = 2-2½ marks logical argument in the body of essay Average An introduction and conclusion, with an Logical presentation and = 1½ marks insignificant argument in the body of 3 structure of the essay essay Below average No clear introduction or conclusion, with = 1 mark a weak argument in the body of essay 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 GRAND TOTAL: 120 OR Copyright reserved Please turn over ### Page 27 Downloaded from hlayiso.com Music/P1 27 DBE/November 2023 NSC – Marking Guidelines SECTION D: JAZZ Note to marker: although these marking guidelines are in bullet form the candidates 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. 11.1.1 Which scale is typically used in jazz music? Answer: D All of the above-mentioned 1 mark (1) 11.1.2 Which instrument is NOT typically part of a big band? Answer: A Oboe 1 mark (1) 11.1.3 Which statement best defines polyrhythm? Answer: A The simultaneous combination of contrasting rhythms 1 mark (1) 11.1.4 Homophony is an element associated with … Answer: B Texture 1 mark (1) 11.1.5 Which ONE of the following items is NOT associated with kwela? Answer: A Straight rhythms 1 mark (1) 5x1=5 11.2 Describe the following terms: Answer: 11.2.1 Cyclic chords  A repetition of the harmonic/chordal progression 11.2.2 Ragtime rhythm  A rhythm based on a simultaneous combination of a straight duple time (march-like) accompaniment and a syncopated melody 11.2.3 Swing rhythm/Swing eighths  Uneven subdivision of quavers with the strong beat longer than the off-beat 3x1 (3) Copyright reserved Please turn over ### Page 28 Downloaded from hlayiso.com Music/P1 28 DBE/November 2023 NSC – Marking Guidelines 11.3 Select TWO items that best describe Miriam Makeba’s Lakutshon’ ilanga: Answer:  Ballad  Slow shuffle-like rhythm 2 marks (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. Answer: Dollar Brand (later Abdullah Ibrahim) – piano Hugh Masekela – trumpet Kippie Moeketsi – alto saxophone Jonas Gwanga – trombone Johnny Gertze – bass Early Mabuza/Makhaya Ntshoko – drums ½ mark per band member and ½ mark per corresponding instrument (2) 11.4.2 Name the style of music for which the Jazz Epistles became known. Answer: Bebop/Hard bop 1 mark (1) 11.4.3 Name the album which they are famous for and state its importance in South African jazz history. Answer: Album: Jazz Epistle, Verse 1/ Verse 1 Importance: The first recorded album of progressive jazz by a black South African band 2x1 (2) 11.5 Comment on the personal sound of Feya Faku’s music. Answer:  A modern, progressive style  Influenced by his culture and Xhosa heritage  A warm and expressive sound image  Focus on a solo brass (trumpet/flugelhorn) sound Any TWO (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. Answer: 11.6.1 D 11.6.2 A 11.6.3 F 3x1 (3) [20] Copyright reserved Please turn over ### Page 29 Downloaded from hlayiso.com Music/P1 29 DBE/November 2023 NSC – Marking Guidelines QUESTION 12 The following extract was composed by Abdullah Ibrahim: 12.1 Identify the composition. Answer: Mannenberg 1 mark (1) 12.2 Explain how this extract is used in the piece identified in QUESTION 12.1. Answer:  Main opening riff  Two-bar melodic riff (melodic call) within a four-bar phrase  The extract is repeated four times in the beginning of the work  Repetitive riff used throughout the work  First introduced by piano  Imitated by saxophones  Forms the basis of the composition Any FOUR (4) [5] Copyright reserved Please turn over ### Page 30 Downloaded from hlayiso.com Music/P1 30 DBE/November 2023 NSC – Marking Guidelines QUESTION 13 Discuss the origin and instrumentation of marabi. Answer: Origin  Developed in the townships around major South African cities during 1920s and 1930s  Increasing urbanisation around mining centres led to the development of slums  Music reflected people’s way of life  Marabi dance parties centered around beer-brewing and having a good time  Music created the energy for the all-night shebeen parties  Gave the black community and working class a sense of identity Instrumentation  Traditionally a keyboard-based style  Vocal and instrumental music  Small instrumental ensemble: o Pedal organ/piano o Guitar, banjo o (Self-made) drum o Percussion/shakers Maximum of THREE marks per item [5] Copyright reserved Please turn over ### Page 31 Downloaded from hlayiso.com Music/P1 31 DBE/November 2023 NSC – Marking Guidelines QUESTION 14 Explain how harmony and rhythm are used in mbaqanga. Answer: Harmony  Cyclic four-bar harmonic sequence  Chord progressions: I – IV – I64 – V or I – IV – V – V  Close four-part harmonies (based on the female vocal style of The Mahotella Queens) – lead singer with three backing vocalists  Parallelism in chord movement Rhythm  Rhythm is derived from spoken text  Repetitive rhythmic and melodic motifs  A dance music combining traditional and Western music elements  Harder driving beat than kwela  The heavy bass line carries the beat  The Zulu indlamu beat (played on the drum kit) provides the driving impetus  Rhythmic layering (e.g. different metres within a steady beat) results in polyrhythm  Melorhythm is used extensively  The beat is always synchronised with dance movements Maximum of THREE marks per item [5] Copyright reserved Please turn over ### Page 32 Downloaded from hlayiso.com Music/P1 32 DBE/November 2023 NSC – Marking Guidelines 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. Answer: Example of an introduction Chris McGregor started The Brotherhood of Breath in the late 1960s as an extension of his smaller group, The Blue Notes, who disbanded. It was clear from the start that this new group both conformed to and deviated from the traditional sound of American big bands. Style  Mixture of hard-driving blues (Charles Mingus) and wild experimentation (Sun Ra)  Raucous, highly adventurous blend of South African and British jazz  Fusion of township riffs, swing and avant-garde  Moved away from the organised aspect of big band with freedom and flexibility in playing  Avant-garde arrangements, bordering on atonality  Very experimental sound for the time, not intended for dancing  Free and flexible melodic lines  Sophisticated instrumental arrangements  Cutting-edge performance style with a tight rhythmic arrangement  Propulsive rhythmic figures  Straying over the boundaries of 1950s/60s jazz  Tight-fitting interplay between brass and woodwinds  His big band style influenced a new type of British big band music Instrumentation  Rhythm section (drums, guitar, piano)  Dynamic big band ensemble – number of wind players changed according to who was available  Parts written for specific players rather than for instruments The role of improvisation  Repeated patterns employed improvisation at the repeats  Free improvisational features, independent of underlying chord progressions Copyright reserved Please turn over Text truncated here. 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