# Music Grade 12 P2 NSC Supplementary 2016 QP (Eng) > Grade 12 Music Paper 2 question paper from the NSC Supplementary Exam 2016 (English), 21 pages. Read online or download the free PDF. - Page: https://www.hlayiso.com/library/music-p2-feb-march-2016-eng/09b1ddcf-a37e-454b-9e39-33631ff3d70e - Updated: 2026-09-27 - Subject: Music - Grade: Grade 12 - Document type: Question paper - Year: 2016 - Exam period: NSC Supplementary Exam - Paper: 2 - Curriculum: CAPS - Pages: 21 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 P2 NSC Supplementary 2016 QP (Eng)](https://www.hlayiso.com/library/music-p2-feb-march-2016-eng/09b1ddcf-a37e-454b-9e39-33631ff3d70e) ## About this document Music · Grade 12 · NSC Supplementary Exam · 2016. Question paper, 21 pages. Read online or download the PDF. Read it free online on the page above; download the PDF from there. ## Document text Text extracted from the PDF. Layout, diagrams and tables may not survive extraction. ### Page 1 Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE GRADE 12 MUSIC P2 FEBRUARY/MARCH 2016 MARKS: 30 TIME: 1½ hours CENTRE NUMBER: EXAMINATION NUMBER: This paper consists of 20 pages and 1 page of manuscript paper. Copyright reserved Please turn over ### Page 2 Downloaded from hlayiso.com Music/P2 2 DBE/Feb.–Mar. 2016 NSC INSTRUCTIONS AND INFORMATION 1. This question paper consists of THREE sections: SECTION A (Aural) (10) SECTION B (Recognition) (12) SECTION C (Form) (8) 2. QUESTION 1, QUESTION 2, QUESTION 3 and QUESTION 7 are compulsory. 3. Answer QUESTION 4 (Western Art Music (WAM)) OR QUESTION 5 (JAZZ) OR QUESTION 6 (Indigenous African Music (IAM)). 4. Write all your answers on this question paper. Use a pencil for music notation and blue or black ink for the other answers. 5. This examination will be written while candidates are listening to a CD. 6. The music teacher of the centre must conduct the examination in the presence of the invigilator. 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. INSTRUCTIONS TO THE PERSON OPERATING THE SOUND EQUIPMENT 1. The instructions for the music teacher appear in frames. 2. Each musical extract (track) must be played the number of times specified in the question paper. 3. Allow adequate time between tracks to offer candidates time to think and write their answers before playing the next track. 4. The number of the track must be announced clearly each time before it is played. 5. If a school offers more than one stream (Western Art Music (WAM), JAZZ, Indigenous African Music (IAM)), the following guidelines must be followed: • Each stream must write the examination in a separate venue. • Each venue must be equipped with suitable sound equipment. • Each venue must have its own CD with musical extracts. • An invigilator must be present in each venue. • The tracks have to be played as follows: - WAM candidates: Tracks 1–20 and Tracks 36–39 - JAZZ candidates: Tracks 1–10 Tracks 21–26 and Tracks 36–39 - IAM candidates: Tracks 1–10 and Tracks 27–39 6. A battery-powered CD player must be available in case of a power failure. Copyright reserved Please turn over ### Page 3 Downloaded from hlayiso.com Music/P2 3 DBE/Feb.–Mar. 2016 NSC MARKING GRID SECTION A: AURAL TOTAL MARKER MODERATOR QUESTION 1 (COMPULSORY) 6 QUESTION 2 (COMPULSORY) 4 SUBTOTAL 10 SECTION B: RECOGNITION TOTAL MARKER MODERATOR QUESTION 3 (COMPULSORY) 4 AND QUESTION 4 (WAM) 8 OR QUESTION 5 (JAZZ) 8 OR QUESTION 6 (IAM) 8 SUBTOTAL 12 SECTION C: FORM TOTAL MARKER MODERATOR QUESTION 7 (COMPULSORY) 8 SUBTOTAL 8 GRAND TOTAL 30 Copyright reserved Please turn over ### Page 4 Downloaded from hlayiso.com Music/P2 4 DBE/Feb.–Mar. 2016 NSC SECTION A: AURAL QUESTION 1 Play Track 1 TWICE in succession. 1.1 Listen to the melodic and rhythmic phrase. Notate the rhythm of the missing notes in bars 3–41 below. (3) Play Track 1 TWICE again. Pause for 30 seconds in between. Play Track 2 TWICE in succession. 1.2 Listen to the extract from Menuet in G by Mozart. Fill in the missing pitches that correspond with the music that you hear on the given score. Play Track 2 ONCE more. (3) [6] Copyright reserved Please turn over ### Page 5 Downloaded from hlayiso.com Music/P2 5 DBE/Feb.–Mar. 2016 NSC QUESTION 2 Play Track 3 ONCE to provide a general overview. Listen to the extract from Think of Me (Phantom of the Opera) while you follow the vocal score. Answer the questions that follow. Copyright reserved Please turn over ### Page 6 Downloaded from hlayiso.com Music/P2 6 DBE/Feb.–Mar. 2016 NSC Play Track 4 TWICE. 2.1 Name the interval at 2.1 (in the vocal part) in bar 3, e.g. Major 2nd. (1) Play Track 5 TWICE. 2.2 Name the cadence at 2.2 in bars 7 and 8. (1) Play Track 6 TWICE. 2.3 This extract starts in bar 9. At 2.3 in bar 11 you will hear a non-chordal note in the vocal line. 2.3.1 Notate this note on the score. (1) 2.3.2 Name the type of non-chordal note. (1) [4] TOTAL SECTION A: 10 Copyright reserved Please turn over ### Page 7 Downloaded from hlayiso.com Music/P2 7 DBE/Feb.–Mar. 2016 NSC SECTION B: RECOGNITION OF MUSIC CONCEPTS QUESTION 3: GENERAL LISTENING (COMPULSORY) Study the items in COLUMN A in QUESTION 3.1–3.4 for two minutes. Play Track 7 TWICE. 3.1 Mark TWO items in COLUMN A that relate to Track 7. Make a cross (X) in TWO appropriate blocks. COLUMN A Track 7 Ragtime Idiophone Trombone Cyclic chord structure Trumpet Pentatonic (2) Play Track 8 TWICE. 3.2 Mark TWO items in COLUMN A that relate to Track 8. Make a cross (X) in TWO appropriate blocks. COLUMN A Track 8 Anacrusis Allegro Homophonic Accelerando Polyphonic Pizzicato (2) Play Track 9 TWICE. 3.3 Mark TWO items in COLUMN A that relate to Track 9. Make a cross (X) in TWO appropriate blocks. COLUMN A Track 9 Alto Aerophone Ostinato American Jazz Idiophone Synthesiser (2) Copyright reserved Please turn over ### Page 8 Downloaded from hlayiso.com Music/P2 8 DBE/Feb.–Mar. 2016 NSC Play Track 10 TWICE. 3.4 Mark TWO items in COLUMN A that relate to Track 10. Make a cross (X) in TWO appropriate blocks. COLUMN A Track 10 Chorus Polyphonic Alla marcia Pedal point Big Band Tranquillo (2) (8 ÷ 2) [4] Copyright reserved Please turn over ### Page 9 Downloaded from hlayiso.com Music/P2 9 DBE/Feb.–Mar. 2016 NSC Answer QUESTION 4 (WAM) OR QUESTION 5 (JAZZ) OR QUESTION 6 (IAM). QUESTION 4: WAM 4.1 Listen to the extracts and answer the questions that follow. Play Track 11 ONCE. 4.1.1 Identify the composer and title of this work. Composer: _____________________________ Title: _____________________________ (2) Play Track 12 TWICE. 4.1.2 Which melodic compositional technique is heard in the violas and bassoons at the beginning of this extract? (1) Play Track 13 TWICE. 4.1.3 Which ONE of the following terms best describes the melodic material of the strings and flutes in this extract? Make a cross (X) in the appropriate block. Cantabile Arpeggios Chromatic Diatonic (1) Play Track 14 TWICE. 4.1.4 Give a suitable Italian term to describe the dynamic level of the melodic line in this extract. (1) Copyright reserved Please turn over ### Page 10 Downloaded from hlayiso.com Music/P2 10 DBE/Feb.–Mar. 2016 NSC 4.2 Listen to the extracts and answer the questions that follow. Play Track 15 ONCE. 4.2.1 Identify the genre of this music. (1) 4.2.2 Name the characters who sing in this extract. (2) Play Track 16 ONCE. 4.2.3 Write down a suitable Italian term to describe the change of tempo towards the end of this extract. (1) Play Track 17 ONCE. 4.2.4 Choose the word that best describes the articulation applied in the accompaniment of this extract. Make a cross (X) in the appropriate block. Staccato Leggiero Pizzicato Vivace (1) 4.3 Listen to TWO extracts from Beethoven's Symphony No. 6 which will be played twice each and answer the questions. Play Track 18 TWICE. 4.3.1 This extract begins with a solo woodwind instrument which is followed by a solo brass instrument. Name each of these instruments. Woodwind instrument: ________________________________ Brass instrument: _________________________________ (2) 4.3.2 Identify the movement from which this extract is taken. (1) Copyright reserved Please turn over ### Page 11 Downloaded from hlayiso.com Music/P2 11 DBE/Feb.–Mar. 2016 NSC Play Track 19 TWICE. 4.3.3 Identify the movement from which this extract is taken. (1) Play Track 20 TWICE. 4.3.4 Choose the time signature of this extract. Make a cross (X) in the appropriate block. (1) 4.3.5 Mark the character or mood of this extract in COLUMN A. Make a cross (X) in the appropriate block. COLUMN A Track 20 Lento Tranquillo Agitato Maestoso (1) (16 ÷ 2) [8] TOTAL SECTION B: 12 OR Copyright reserved Please turn over ### Page 12 Downloaded from hlayiso.com Music/P2 12 DBE/Feb.–Mar. 2016 NSC QUESTION 5: JAZZ 5.1 Listen to the extracts and answer the questions that follow. Play Track 21 ONCE. 5.1.1 With which ONE of the following terms would you associate this extract? Make a cross (X) in the appropriate block. Marabi Mbaqanga Jazz in exile (1) 5.1.2 Write down the title of this work. (1) 5.1.3 Name TWO artists associated with this extract. (2) Play Track 22 TWICE. 5.1.4 A repetitive rhythmic drive is heard in this extract. Which instrument(s) are heard in this regard? Make a cross (X) in the appropriate block. Instrument(s) Track 22 Horn section, bass and piano Cymbals, bass and piano Piano only (1) Copyright reserved Please turn over ### Page 13 Downloaded from hlayiso.com Music/P2 13 DBE/Feb.–Mar. 2016 NSC 5.2 Listen to the extracts and answer the questions that follow. Play Track 23 ONCE. 5.2.1 Identify the South African jazz style. (1) 5.2.2 Give TWO reasons for your answer to QUESTION 5.2.1. (2) 5.2.3 Name ONE artist associated with this extract. (1) 5.2.4 Name the title of the work. (1) 5.3 Listen to the extracts and answer the questions that follow. Play Track 24 ONCE. 5.3.1 Identify the South African jazz style. (1) 5.3.2 Give TWO reasons for your answer to QUESTION 5.3.1. (2) 5.3.3 Name the female vocalist associated with this extract. (1) Copyright reserved Please turn over ### Page 14 Downloaded from hlayiso.com Music/P2 14 DBE/Feb.–Mar. 2016 NSC Play Track 25 ONCE. 5.3.4 Describe how the call-and-response technique is used in this extract. (1) Play Track 26 ONCE. 5.3.5 With which of the following items do you associate this extract? Make a cross (X) in the appropriate block. Riff Electric organ Polyphonic (1) (16 ÷ 2) [8] TOTAL SECTION B: 12 OR Copyright reserved Please turn over ### Page 15 Downloaded from hlayiso.com Music/P2 15 DBE/Feb.–Mar. 2016 NSC QUESTION 6: IAM 6.1 Listen to the extracts and answer the questions that follow. Play Track 27 ONCE. 6.1.1 Identify the South African style. Make a cross (X) in the appropriate block. Marabi Mbaqanga Isicathamiya (1) 6.1.2 Give TWO reasons for your answer to QUESTION 6.1.1. (2) Play Track 28 ONCE. 6.1.3 Name the artist/group with whom you associate this song. (1) 6.2 Listen to the extracts and answer the questions that follow. Play Track 29 ONCE. 6.2.1 With which type of song do you associate the extract? Make a cross (X) in the appropriate block. Wedding song Funeral song Struggle song War song (1) Play Track 30 ONCE. 6.2.2 With which type of song do you associate the extract? Make a cross (X) in the appropriate block. Lullaby Celebration song Initiation song Work song (1) Copyright reserved Please turn over ### Page 16 Downloaded from hlayiso.com Music/P2 16 DBE/Feb.–Mar. 2016 NSC Play Tracks 31 and 32 TWICE in succession. 6.2.3 Listen to the TWO tracks which will be played TWICE in succession. Complete the table below. Identify the voice type, compositional technique and percussion instrument used in each track. Track 31 Track 32 Voice type Compositional technique Percussion instrument (3) 6.3 Listen to the extracts and answer the questions that follow. Play Track 33 ONCE. 6.3.1 Identify the chordophone that you hear in the introduction of this extract. (1) 6.3.2 Name the voice type of the solo singer who introduces the melody. (1) 6.3.3 Identify the vocal compositional technique used in this extract. Make a cross (X) in the appropriate block. Call and response Ululation Crepitation Imitation (1) Copyright reserved Please turn over ### Page 17 Downloaded from hlayiso.com Music/P2 17 DBE/Feb.–Mar. 2016 NSC 6.4 Listen to the extracts and answer the questions that follow. Play Track 34 and Track 35 TWICE in succession. Identify TWO instruments in each of the extracts. Track 34 Track 35 Instruments (4) (16 ÷ 2) [8] - TOTAL SECTION D: 12 Copyright reserved Please turn over ### Page 18 Downloaded from hlayiso.com Music/P2 18 DBE/Feb.–Mar. 2016 NSC SECTION C: FORM QUESTION 7 Read and study the questions for ONE minute. Play Track 36 ONCE to provide an overview. Listen to the following piece while you study the score. ROMANCE Anon Copyright reserved Please turn over ### Page 19 Downloaded from hlayiso.com Music/P2 19 DBE/Feb.–Mar. 2016 NSC 7.1 Name the overall form of this work. (1) 7.2 Motivate your answer to QUESTION 7.1 by indicating the main sections on the score. Write capital letters above the staff. (3) 7.3 Name the main key of the work in bars 1–16. (1) Copyright reserved Please turn over ### Page 20 Downloaded from hlayiso.com Music/P2 20 DBE/Feb.–Mar. 2016 NSC 7.4 To which key does the work modulate (change key) in bar 17? (1) Play Track 37 ONCE. 7.5 Which compositional technique is used in the bass part from in 1–5? (1) Play Track 38 ONCE. 7.6 This track starts in bar 27. Name the cadence in bars 30–32. (1) Play Track 39 ONCE. [8] TOTAL SECTION C: 8 GRAND TOTAL: 30 Copyright reserved ### Page 21 Downloaded from hlayiso.com Music/P2 DBE/Feb.–Mar. 2016 NSC Copyright reserved ## Related documents - [Music P2 Feb March 2016 Afr](https://www.hlayiso.com/library/music-p2-feb-march-2016-afr/bccda666-34df-48d5-9fbc-863be259b6ca) — Music · QP · 2016 · Afr - [Music P2 Feb March 2016 Memo Afr](https://www.hlayiso.com/library/music-p2-feb-march-2016-memo-afr/84ae4e3c-6a86-460e-8ba0-8fe57e7ba5fb) — Music · Memo · 2016 · Afr - [Music P1 Feb March 2016 Afr](https://www.hlayiso.com/library/music-p1-feb-march-2016-afr/6ef406ea-3f29-425c-bce9-ec90aaa54ae8) — Music · QP · 2016 · Afr - [Gr12 MUSC P2 S16 QP Afr](https://www.hlayiso.com/library/gr12-musc-p2-s16-qp-afr/d8ed50ad-0572-45a6-acf0-381a7dfc88d5) — Music · QP · 2016 · Afr - [Music P2 Nov 2016 Eng](https://www.hlayiso.com/library/music-p2-nov-2016-eng/4febbfe1-d2ba-422e-90e7-54477d48e034) — Music · QP · 2016 · Eng - [Music P2 Feb March 2018 Afr](https://www.hlayiso.com/library/music-p2-feb-march-2018-afr/f25024e2-ce11-4b49-86ab-e1f1c149a5fe) — Music · QP · 2018 · Afr ## More from Grade 12 Music - [Music P1 May-June 2025 MG Afr](https://www.hlayiso.com/library/music-p1-may-june-2025-mg-afr/155cdf2c-8d24-49d5-a9c3-f2ed3b02cd76) — Memo · 2025 · Afr - [Music P2 May-June 2025 MG Afr](https://www.hlayiso.com/library/music-p2-may-june-2025-mg-afr/10442153-8862-4dfd-a017-2e2ac2cc4494) — Memo · 2025 · Afr - [Music P2 Nov 2025 MG Eng](https://www.hlayiso.com/library/grade-12-music-2025-nsc-november-exam-memorandum-paper-2/06853820-e71f-432a-9f3c-2d3bd761ddbc) — Memo · 2025 · Eng - [Music P1 Nov 2024 MG Eng](https://www.hlayiso.com/library/music-p1-nov-2024-mg-eng/bd66a143-7b60-4c1f-91b2-0b55a7fc25e1) — Memo · 2024 · Eng - [Music P1 May-June 2024 MG Eng](https://www.hlayiso.com/library/grade-12-music-2024-nsc-june-exam-memorandum-paper-1-english/1e8a41db-4f78-4243-a8c6-a6e30009ff1b) — Memo · 2024 · Eng - [Music P2 May-June 2024 Eng](https://www.hlayiso.com/library/grade-12-music-2024-nsc-june-exam-question-paper-paper-2-english/320cff32-a6ad-424f-ba3b-75bdc6fb1ccb) — QP · 2024 · Eng ## Collection - [Grade 12 past papers](https://www.hlayiso.com/grade-12/past-papers) --- Hlayiso: free CAPS and IEB past papers, memos, notes and study guides for South African learners. 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