Music P2 May June 2018 Eng_hlayiso.com_.pdf

Downloaded from hlayiso.com SENIOR CERTIFICATE EXAMINATIONS MUSIC P2 2018 MARKS: 30 TIME: 1½ hours CENTRE NUMBER: EXAMINATION NUMBER: FOR OFFICIAL USE ONLY QUESTION MARKS OBTAINED MODERATED MARKS MODERATED MAX. SIGN SIGN OBTAINED MARKS 10 1 10 1 1 4 2 6 3 4 4/5/6 8 7 8 TOTAL 30 This question paper consists of 19 pages and 1 page of manuscript paper. Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P2 2 DBE/2018 SCE 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. The candidate must 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 of each question to provide enough information in their answers. 10. Write neatly and legibly. Kopiereg voorbehou Blaai om asseblief

Downloaded from hlayiso.com Music/P2 3 DBE/2018 SCE INSTRUCTIONS FOR THE PERSON OPERATING THE SOUND EQUIPMENT 1. The instructions for the music teacher appear in frames. 2. Each music extract (track) must be played the number of times specified in the question paper. 3. Allow adequate time between tracks to give 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 music extracts. • An invigilator must be present in each venue. 6. The tracks have to be played as follows: • WAM candidates: Tracks 1–18 and Tracks 30–34 • JAZZ candidates: Tracks 1–10, Tracks 19–23 and Tracks 30–34 • IAM candidates: Tracks 1–10 and Tracks 24–34 7. A battery-powered CD player must be available in case of a power failure. Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P2 4 DBE/2018 SCE SUMMARY OF MARKS SECTION A: AURAL TOTAL QUESTION 1 (COMPULSORY) 4 QUESTION 2 (COMPULSORY) 6 SUBTOTAL 10 SECTION B: RECOGNITION TOTAL QUESTION 3 (COMPULSORY) 4 QUESTION 4 (WAM) OR 8 QUESTION 5 (JAZZ) OR 8 QUESTION 6 (IAM) 8 SUBTOTAL 12 SECTION C: FORM TOTAL QUESTION 7 (COMPULSORY) 8 SUBTOTAL 8 GRAND TOTAL 30 Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P2 5 DBE/2018 SCE SECTION A: AURAL QUESTION 1 Play Track 1 THREE times in succession. 1.1 Which ONE of extract (a), (b) or (c) below best represents the solo voice part? Make a cross (X) in the appropriate block. (a) (b) (c) (1) Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P2 6 DBE/2018 SCE Play Track 2 TWICE in succession. 1.2 Listen to the melodic and rhythmic phrase. Notate the rhythm of the missing notes in bars 2–3 below. (3) Play Track 2 TWICE again. [4] Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P2 7 DBE/2018 SCE QUESTION 2 Play Track 3 ONCE to provide a general overview. Listen to the extract below. Answer the questions that follow. etc./ens. Play Track 4 TWICE. 2.1 Describe the role of the guitar in this extract. (1) Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P2 8 DBE/2018 SCE 2.2 The notation of bars 3 and 4 has been omitted at X on the score. Fill in the missing pitches and note values that correspond with the music that you hear. (3) Play Track 5 TWICE. 2.3 Name the compositional technique used at Y. (The track starts in bar 5.) (1) Play Track 6 TWICE. 2.4 Name the interval formed between the given note and the missing note at Z. (The track starts with an upbeat to bar 21.) (1) [6] TOTAL SECTION A: 10 Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P2 9 DBE/2018 SCE SECTION B: RECOGNITION OF MUSIC CONCEPTS QUESTION 3: GENERAL LISTENING (COMPULSORY) Listen to the following tracks and answer the questions that follow. Play Track 7 TWICE. 3.1 With which items in COLUMN A do you associate the music that you hear in Track 7? Make a cross (X) in TWO appropriate blocks. COLUMN A Track 7 Marimba Double bass melody Dorian mode (modal minor) Major key Piano introduction Organ introduction (2) Play Track 8 TWICE. 3.2 With which items in COLUMN A do you associate the music that you hear in Track 8? Make a cross (X) in TWO appropriate blocks. COLUMN A Track 8 Horn section Ragtime Swing Major key Starts with djembe introduction Starts with floor tom-tom (2) Play Track 9 and Track 10 TWICE each. 3.3 Listen to the two versions of Dona Nobis Pacem (Track 9 and Track 10) and answer the questions that follow. 3.3.1 With which items in COLUMN A do you associate the music that you hear in Track 9 and Track 10? Make a cross (X) in TWO appropriate blocks for EACH track. COLUMN A Track 9 Track 10 Call and response SATB choir Piano accompaniment Starts with an introduction Minor key Children's choir Starts with a monophonic texture A cappella (4) Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P2 10 DBE/2018 SCE 3.3.2 With which TWO genres do you associate both versions of the work? Make a cross (X) in TWO appropriate blocks. Choral work Art song Vocal canon Hymn Vocal fugue (2) 3.3.3 Indicate whether the statements below are TRUE or FALSE. Make a cross (X) in the appropriate blocks. TRUE FALSE (a) Both performances begin with an upbeat. (b) Both performances end with a perfect cadence. (2) (12 ÷ 3) [4] Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P2 11 DBE/2018 SCE 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 TWICE. 4.1.1 From which movement of Beethoven's Symphony No. 6 is this extract taken? (1) Play Track 12 TWICE. 4.1.2 With which items in COLUMN A do you associate the music that you hear in Track 12? Make a cross (X) in THREE appropriate blocks. COLUMN A Track 12 Development Adagio Coda Flute and oboe melodic material Clarinet and trumpet melodic material Triplet figure in accompaniment Compound triple time Repetition of motif in different keys (3) 4.1.3 Which prominent dynamic feature do you hear in this extract? (1) 4.2 Listen to the extracts and answer the questions that follow. Play Track 13 TWICE. 4.2.1 Complete the table below by giving a description of EACH item in Track 13. ITEM DESCRIPTION Work Style period Tempo Dynamics (4) Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P2 12 DBE/2018 SCE Play Track 14 TWICE. 4.2.2 Which ONE of these Italian terms best describes the mood of the entire extract? Giocoso Espressivo Con fuoco Smorzando (1) 4.3 Listen to the extracts and answer the questions that follow. Play Track 15 ONCE. 4.3.1 Name the TWO characters who sing this duet. (2) Play Track 16 TWICE. 4.3.2 Which type of articulation do you hear in the accompaniment part of this extract? (1) Play Track 17 TWICE. 4.3.3 Name the cadence that you hear at the end of this extract. (1) 4.3.4 Give a suitable Italian/German term that describes the mood or character of this music. (1) Play Track 18 TWICE. 4.3.5 Give the term for the vocal decoration in the soprano part on the single word, 'an'. (1) (16 ÷ 2) [8] TOTAL SECTION B: 12 OR Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P2 13 DBE/2018 SCE QUESTION 5: JAZZ 5.1 Listen to the extracts and answer the questions that follow. Play Track 19 TWICE. 5.1.1 With which items in COLUMN A do you associate the music that you hear in Track 19? Make a cross (X) in THREE appropriate blocks. COLUMN A Track 19 Bass and drum introduction Pentatonic scale Piano and voice in unison Boogie-woogie Syncopation Kwêla Melodic ostinato Skiffle beat Ghoema beat (3) Play Track 20 ONCE. 5.1.2 Which instrument(s) play(s) the melody? (1) 5.1.3 Name TWO features of this melody. (2) Play Track 21 TWICE. 5.1.4 Give ONE or TWO word(s) to describe the style of the piano part. (1) 5.2 Listen to the extracts and answer the questions that follow. Play Track 22 TWICE. 5.2.1 Name TWO South African artists/bands with which you associate this extract. (2) Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P2 14 DBE/2018 SCE 5.2.2 Briefly describe the role of the instruments below in this extract. INSTRUMENT DESCRIPTION Drum kit Bass guitar Saxophone (3) 5.3 Listen to the extract and answer the questions that follow. Play Track 23 TWICE. 5.3.1 Complete the table below by giving a description of EACH item in Track 23. ITEM DESCRIPTION Tonality Mood Style (3) 5.3.2 This melody is played as a call and response. Name the instrument playing the call. (1) (16 ÷ 2) [8] TOTAL SECTION B: 12 OR Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P2 15 DBE/2018 SCE QUESTION 6: IAM 6.1 Listen to the extract and answer the questions that follow. Play Track 24 ONCE. 6.1.1 Identify the style of music in this extract. (1) 6.1.2 Give TWO reasons for your answer to QUESTION 6.1.1. (2) 6.1.3 Name TWO artists which you associate with this extract. (2) 6.2 Listen to the extracts and answer the question that follows. Play Track 25 and Track 26 in succession. With which items in COLUMN A do you associate the music that you hear in Track 25 and Track 26? Make a cross (X) in TWO appropriate blocks for EACH track. COLUMN A Track 25 Track 26 Aerophones Monophonic texture Syncopation Guitar introduction Descending melodic motive Ukuvamba Dipoko (Praise poetry) (4) 6.3 Listen to the extracts and follow the instructions that follow. Play Track 27 ONCE. 6.3.1 Describe TWO features of the rhythmic material used in this extract. (2) Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P2 16 DBE/2018 SCE Play Track 28 ONCE. 6.3.2 Identify the vocal technique that you hear in this extract. (1) 6.3.3 Explain the purpose of the vocal technique used in this extract. (1) 6.4 Listen to the extracts and follow the instructions that follow. Play Track 29 ONCE. 6.4.1 Identify the style of music in this extract. (1) 6.4.2 Give TWO reasons for your answer to QUESTION 6.4.1. (2) (16 ÷ 2) [8] TOTAL SECTION B: 12 Copyright reserved Please turn over

Downloaded from hlayiso.com Music/P2 17 DBE/2018 SCE SECTION C: FORM QUESTION 7 Read and study the questions for ONE minute. Play Track 30 ONCE to provide a general overview. Listen to the piece below while you study the score. Fast tempo with energy Copyright reserved Please turn over

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Downloaded from hlayiso.com Music/P2 19 DBE/2018 SCE Play Track 30 again. 7.1 What is the overall form of this piece? (1) 7.2 Motivate your answer to QUESTION 7.1 by giving a schematic layout of the form. Use the table below. SECTION BAR NUMBERS (3) 7.3 Name the key of this piece. (1) Play Track 31 TWICE. 7.4 Does the work start with a homophonic or polyphonic texture? (1) Play Track 32 ONCE. 7.5 Choose the term which best describes the vocal technique in this piece. Make a cross (X) in the appropriate block. Yodelling Crepitation Ululation Melisma (1) Play Track 33 TWICE. 7.6 Name the cadence at the end of the piece in bars 78–80 at X. (The track starts with the upbeat to bar 78.) (1) Play Track 34 ONCE for a final overview. TOTAL SECTION C: 8 GRAND TOTAL: 30 Copyright reserved

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