Music PAT GR 12 2017 Eng hlayiso.com

Downloaded from hlayiso.com MUSIC GUIDELINES FOR PRACTICAL ASSESSMENT TASKS 2017 These guidelines consist of 57 pages. Copyright reserved Please turn over

Downloaded from hlayiso.com Music 2 DBE/PAT 2017 NSC TABLE OF CONTENTS Page 1. Introduction 3 2. Teacher and Learner Guidelines 4 2.1 How to administer PATs 4 2.2 Summary of requirements 5 2.3 Summary of assessment 5 3. Specified Requirements for PATs 6 4. Detailed Descriptions of PATs 7 4.1 PAT 1 7 4.2 PAT 2 7 4.3 PAT 3 8 4.4 PAT 4 9 4.5 PAT 5 10 5. Examples of PATs and Assessment Tools 11 5.1 PAT 1 11 5.2 PAT 2 15 5.3 PAT 3 29 5.4 PAT 4 47 5.5 PAT 5 50 6. Declaration of Authenticity 55 7. Suggested Resources 56 8. Conclusion 57 Copyright reserved Please turn over

Downloaded from hlayiso.com Music 3 DBE/PAT 2017 NSC 1. INTRODUCTION The 16 Curriculum and Assessment Policy Statement subjects which contain a practical component all include a practical assessment task (PAT). These subjects are: • AGRICULTURE: Agricultural Management Practices, Agricultural Technology • ARTS: Dance Studies, Design, Dramatic Arts, Music, Visual Arts • SCIENCES: Computer Applications Technology, Information Technology • SERVICES: Consumer Studies, Hospitality Studies, Tourism • TECHNOLOGY: Civil Technology, Electrical Technology, Mechanical Technology and Engineering Graphics and Design A practical assessment task (PAT) mark is a compulsory component of the final promotion mark for all candidates offering subjects that have a practical component and counts 25% (100 marks) of the end-of-year examination mark. The PAT is implemented across the first three terms of the school year. This is broken down into different phases or a series of smaller activities that make up the PAT. The PAT allows for learners to be assessed on a regular basis during the school year and it also allows for the assessment of skills that cannot be assessed in a written format, e.g. test or examination. It is therefore important that schools ensure that all learners complete the practical assessment tasks within the stipulated period to ensure that learners are resulted at the end of the school year. The planning and execution of the PAT differs from subject to subject. Copyright reserved Please turn over

Downloaded from hlayiso.com Music 4 DBE/PAT 2017 NSC 2. TEACHER AND LEARNER GUIDELINES 2.1 HOW TO ADMINISTER PATs • Music has five Practical Assessment Tasks (PATs), which, together with the June and September examination marks, make up the School-based Assessment (SBA) mark for each learner. • The PATs ensure that the teacher directly and systematically observes learners' acquired competences, which include practical performance, theoretical knowledge, improvisation skills, creative output and research experience. • The PATs are to be completed during the first three terms of the Grade 12 year. The planning and completion of the PATs may be done at the teacher's discretion, and in any order. • Some tasks, for example the music literacy assignment, may be done in the form of a single period test, while other tasks, for example composition, may be performed as a series of smaller tasks over a number of weeks. • The PATs correspond closely with the curriculum material for Music and form part of the teaching and assessment activities. • At least 60% of all PATs must be done in class under supervision of the teacher, who has to authenticate the work as the learner's own. • The following table summarises the components of the final music mark: TOTAL SBA (PATs and the two internal 100 examinations) 850 ÷ 8,5 Practical 150 FINAL EXTERNAL EXAMINATIONS Paper 1 120 300 Paper 2 30 PROMOTION 400 • The examples in this PAT document serve as a basic guideline only. Teachers may compile their own PATs which are more appropriate in their own specific contexts. These PATs must be of the same standard as the examples given in this document. • If there is only one music teacher at a school, all the performance-based tasks (PATs 1 and 3 and the practical examinations) must be assessed with a music teacher from a neighbouring school, the subject advisor or an independent music specialist. Copyright reserved Please turn over

Downloaded from hlayiso.com Music 5 DBE/PAT 2017 NSC 2.2 SUMMARY OF REQUIREMENTS The PATs, June and September Examinations and External Examinations form the final mark for Grade 12 Music. PROGRAMME OF ASSESSMENT AND WEIGHTING OF TASKS Formal assessment End-of-year examination (during the year) 25% 75% SBA (school-based assessment) External end-of-year examination practical and (100 marks) written papers (300 marks) 5 PATs (50 marks each) Two written papers: Practical examination: June Examinations (150 marks) (150 marks) (300 marks) Paper 1: 120 marks Performance pieces, September Examinations Paper 2: 30 marks technical work, sight (300 marks) reading and aural tests TOTAL: 850 ÷ 8,5 = 100 2.3 SUMMARY OF ASSESSMENT PATs SBA FINAL MARK (May be done in any order/term) MARK PAT 1: Concert performance 50 PAT 2: Music Literacy assignment 50 PAT 3: Improvisation 50 250 PAT 4: Composition OR Arrangement 50 PAT 5: Written assignment 50 Examinations 850 ÷ 8,5 June: = 100 Practical 150 300 Written (Papers 1 and 2) 150 September: Practical 150 300 Written (Papers 1 and 2) 150 Final External Examinations Practical Examination 150 Written Papers: Paper 1 120 300 Paper 2 30 TOTAL YEAR TOTAL 400 Copyright reserved Please turn over

Downloaded from hlayiso.com Music 6 DBE/PAT 2017 NSC 3. SPECIFIC REQUIREMENTS FOR PATs PAT DESCRIPTION MARKS PAT 1 Concert Performance: • One performance-ready piece 40 • Written programme notes 10 50 PAT 2 Music Literacy Assignment: • Harmonic analysis/Music theory 30 • Harmonisation 20 50 PAT 3 Improvisation: • Performance 40 • Written explanation of style/techniques used 10 50 PAT 4 Composition OR Arrangement: • Handwritten or printed score 50 50 PAT 5 Written Assignment: Teachers may select any research topic which has direct relevance to the CAPS content. The research, therefore, becomes part of the preparation for the final examination, for example: WAM: Research the origin and early development of opera from 1585 to 1625 in Italy. 50 OR OR JAZZ: Research the origin and early development of marabi. 50 OR OR IAM: Research the music of ONE ceremony of an indigenous South African culture other than your own. 50 50 TOTAL FOR PATs 250 Copyright reserved Please turn over

Downloaded from hlayiso.com Music 7 DBE/PAT 2017 NSC 4. DETAILED DESCRIPTIONS OF PATs 4.1 PAT 1 CONCERT PERFORMANCE • Performance Each learner must perform one piece in a concert or performance class. This piece must be polished and performance-ready. The piece could form part of the final practical examination programme. • Programme notes Each learner must write programme notes of 120–150 words on the piece performed. The information should include reference to the composer, the form and relevant style characteristics of the piece. • Assessment Both the concert performance and the written programme notes must be assessed by at least two music teachers/specialists. Evidence of the assessment of the concert performance and the written programme notes must be placed in each learner's file. 4.2 PAT 2 MUSIC LITERACY ASSIGNMENT • Harmonic analysis Each learner must complete a harmonic analysis, which includes the various aspects covered in the curriculum, for example: (a) Keys and modulation (b) Chord progressions (positions/inversion) (c) Cadences (d) Non-harmonic notes (e) Compositional techniques (f) Intervals (g) Scales (h) Transposition, etc. • Harmonisation WAM/IAM: Each learner must complete a four-part (SATB) harmonisation of a given soprano melody consisting of 8–12 bars. JAZZ/IAM: Each learner must complete a short piece by adding a written accompaniment to a soprano melody consisting of 8–12 bars. • Assessment Evidence of the assessments of both tasks must be placed in each learner's file. Copyright reserved Please turn over

Downloaded from hlayiso.com Music 8 DBE/PAT 2017 NSC 4.3 PAT 3 IMPROVISATION • Performance: Each learner must improvise a minimum of 12 bars on his/her instrument while being accompanied by (a) suitable instrument(s) or backtrack. • Timeframe: The accompaniment material (chord progression or backtrack) for the improvisation must be provided to the learner at least two weeks prior to the actual improvisation performance in order for the learner to prepare. • Actual performance: During the actual performance the learner may only have the chord progression, chord chart or lead sheet in front of him/her. The accompaniment must be played once as an introduction and then it must be repeated while the learner improvises. • Style: The style of the improvisation is not prescribed. The teacher may provide suitable material relevant to the style of music that the learner studies. • Instruments: (a) All performances must include melodic and rhythmic improvisation, except for non-melodic percussion instruments. (b) Guitar, piano, keyboard and organ performances may consist of single-line improvisations, as will be the case on all wind, brass and string instruments. (c) Learners performing on transposing instruments must take care to prepare their improvisation in the correct key. Separate chord charts/lead sheets must be provided for all transposing instruments. • Written explanation: A written explanation (80–100 words) of the style/techniques and material used in the improvisation must be provided by the learner at the actual performance of the improvisation. • Assessment: Evidence of the assessment of the improvisation and the written explanation must be placed in each learner's file. Copyright reserved Please turn over

Downloaded from hlayiso.com Music 9 DBE/PAT 2017 NSC 4.4 PAT 4 COMPOSITION OR ARRANGEMENT Each learner must compose or arrange a piece of music for one of the following: (a) Keyboard instrument (b) Keyboard instrument and one solo instrument/voice (c) A song with accompaniment (d) Jazz combo (e) Mixed choir (SATB) (f) Any combination of at least four instruments (g) Classical/African percussion for at least four instruments • Style: The composition/arrangement must have a tonal harmonic basis and a clear melodic line (homophonic texture) and may include polyphony. Compositions/ Arrangements for percussion instruments must be organised around specific rhythmic principles. • Scope: The minimum required length is 12 bars (double to 24 bars if the time signature is 2/4 or 3/8), but may be longer. • Score: A complete score (including tempo indication, performance directions, dynamic and articulation indications) must be neatly handwritten or typed/printed. • Assessment: Evidence of the assessment of the composition or arrangement and the work itself must be placed in each learner's file. Copyright reserved Please turn over

Downloaded from hlayiso.com Music 10 DBE/PAT 2017 NSC 4.5 PAT 5 WRITTEN ASSIGNMENT • Teachers may select any research topic which has direct relevance to the CAPS content. The research, therefore, becomes part of the preparation for the final examination. • The length of the assignment must be 1 000–1 500 words. The teacher may provide headings and subheadings to assist the learner with the structure of the assignment but the written text must be the learner's own work. • Any form of plagiarism will be severely penalised. The teacher must explain the term 'plagiarism' to the learners. • A bibliography and discography must be included. • Assessment Evidence of the assessment of the research task and the task itself must be placed in each learner's file. Copyright reserved Please turn over

Downloaded from hlayiso.com Music 11 DBE/PAT 2017 NSC 5. EXAMPLES OF PATs AND ASSESSMENT TOOLS PAT 1 CONCERT PERFORMANCE Record of Assessment Total: 40 marks Learner's name: Date: _____________________ Composer and title: Instrument: ________________ Performance Criteria Maximum Learner's Mark Mark Fluency 10 Accuracy 10 Stylistic sense 30 Musical understanding/interpretation 20 General: * Tone production/Touch * Intonation 30 * Technical competence * Appropriate tempo * Stage presence Subtotal: 100 Converted: 40 Concert Performance Programme Notes 10 TOTAL 50 Comments: __________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ Teachers' signatures: 1. _____________________________________ 2. _____________________________________ Copyright reserved Please turn over

Downloaded from hlayiso.com Music 12 DBE/PAT 2017 NSC ASSESSMENT TOOL FOR PERFORMANCE Fluency Accuracy Stylistic sense Musical General understanding/ interpretation 10 10 30 20 30 (9–10) (9–10) (27–30) (18–20) (27–30) EXCELLENT EXCELLENT EXCELLENT EXCELLENT EXCELLENT Accurate, fluent Authoritative, Clear Excellent projection Excellent tone and precise playing accurate playing understanding of and communication production, touch, the required style of the meaning of intonation, technical the music competence and suitable tempo, stage presence (7–8) (7–8) (21–26) (14–17) (21–26) GOOD GOOD GOOD GOOD GOOD Mainly accurate A good level of Good sense of Good Good tone and fluent playing accuracy performance in an understanding and production, touch, appropriate style communication of intonation, technical the meaning of the competence, music tempo, stage presence (5–6) (5–6) (15–20) (10–13) (15–20) AVERAGE AVERAGE AVERAGE AVERAGE AVERAGE Essentially Generally accurate A fair sense of the Partially successful Fair tone accurate with playing required style in communicating production, touch, adequate fluency the meaning of the intonation, technical music competence, tempo, stage presence (3–4) (3–4) (9–14) (6–9) (9–14) ACCEPTABLE ACCEPTABLE ACCEPTABLE ACCEPTABLE ACCEPTABLE Tentative tempo, Limited level of Performance shaky Little musical Some idea of tone pulse often not accuracy and lacking a sense understanding production, touch, clear, frequent of style intonation, technical hesitations competence, tempo, stage presence (0–2) (0–2) (0–8) (0–5) (0–8) UNACCEPTABLE UNACCEPTABLE UNACCEPTABLE UNACCEPTABLE UNACCEPTABLE Very poor continuity Very little accuracy, Style just vaguely Lacking musical Lacking tone with frequent many errors discernible sense production, touch, stumbles, restarts intonation, technical and/or stoppages competence, tempo, stage presence Copyright reserved Please turn over

Downloaded from hlayiso.com Music 13 DBE/PAT 2017 NSC PROGRAMME NOTES Record of Assessment Total: 10 marks Learner's name: _______________________________ Date: _____________________ Composer and title: _________________________________ Instrument:_________________ INSTRUCTIONS 1. Write brief programme notes (120–150 words) on the piece performed in the concert. 2. The information should include reference to the composer, the form and relevant style characteristics of the piece. 3. Marks will be awarded for content, use of language and presentation. ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ Marks (10):____________ Teachers' signatures: 1. ______________________________ 2. ______________________________ Copyright reserved Please turn over

Downloaded from hlayiso.com Music 14 DBE/PAT 2017 NSC ASSESSMENT TOOL FOR PROGRAMME NOTES Content Language and Presentation 20 10 (9–10) (9–10) EXCELLENT EXCELLENT Coherent, accurate, comprehensive (7–8) (7–8) GOOD GOOD Mostly coherent, mostly accurate, detailed (5–6) (5–6) AVERAGE AVERAGE Fairly coherent, fairly accurate, some detail (3–4) (3–4) ACCEPTABLE ACCEPTABLE Some coherence, little accuracy, lacking detail (0–2) (0–2) UNACCEPTABLE UNACCEPTABLE No sense, inaccurate, incomplete 30 ÷ 3 = 10 Copyright reserved Please turn over

Downloaded from hlayiso.com Music 15 DBE/PAT 2017 NSC PAT 2 MUSIC LITERACY ASSIGNMENT (Choose the appropriate option to suit WAM/JAZZ/IAM.) OPTION 1 (WAM) HARMONIC ANALYSIS Record of Assessment Total: 20 marks Learner's name: _____________________________________ Date: ___________________ Study Hymn below and answer the questions. Copyright reserved Please turn over

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Downloaded from hlayiso.com Music 17 DBE/PAT 2017 NSC 1. Name the key of this hymn. _________________________________________ (1) 2. Figure the chords (a)–(g) on the score. Ensure that you indicate the correct position/inversion of the chord. (7) 3. Figure the chords and name the type of cadence at (x) in the space below. (x) _______________________________________ (3) 4. Name the types of non-chordal notes at (i)–(iii). (i) _______________________________________ (ii) _______________________________________ (iii) _______________________________________ (3) 5. Which word describes the tonality of this hymn? Make a cross (X) in the appropriate box. Polytonal Atonal Diatonic Chromatic (1) 6. Give a term that describes the texture of this hymn. __________________________________________________________ (1) 7. What does the 8 below the treble clef in the tenor part mean? __________________________________________________________ (1) 8 Name the interval between the bass and tenor parts in the last bar. __________________________________________________________ (1) 9. Add and label ONE passing note and ONE auxiliary note to the score in any voice. Adapt given note values accordingly. (2) Marks (20):________________ Copyright reserved Please turn over

Downloaded from hlayiso.com Music 18 DBE/PAT 2017 NSC HARMONISATION Record of Assessment Total: 30 marks Learner's name: _______________________________ Date: __________________ Complete the four-part harmonisation below by adding the alto, tenor and bass parts. The use of non-harmonic notes will be credited. Marking grid MARK DESCRIPTION LEARNER'S MARK ALLOCATION Chord progression Movement from one chord to another 12 Correctness Notation, doubling, spacing, voice leading 14 General impression Use of non-harmonic notes, musicality, 14 innovation 40 TOTAL 40 ÷ 4 x 3 = 30 Total marks for PAT 2 (50):__________________ Teacher's signature: __________________________ Copyright reserved Please turn over

Downloaded from hlayiso.com Music 19 DBE/PAT 2017 NSC ASSESSMENT TOOL FOR HARMONISATION (WAM) DESCRIPTION MARK ALLOCATION Chord progression 1 mark per progression, e.g. Ib √ V or V x IV Movement from one Six progressions in first phrase; six progressions in second chord to another phrase = 12 marks. 12 marks A progression between two chords is either correct or incorrect. Correctness 1 mark per chord x 14 Notation, doubling, Minus ½ mark per mistake but not more than 1 mark per chord 14 marks spacing, voice leading General impression Excellent Use of non-harmonic Coherent and musical; use of notes, musicality, 12–14 86%–100% cadences and tonality sophisticated; innovation modulation or secondary dominant (not compulsory) is successful; creative use of non-harmonic notes Good Correct and musical; cadences 10–11½ 70%–82% correct; tonality stable; sound non- harmonic notes included Average Musicality not convincing; some 14 marks 7–9½ 50%–68% cadences weak; tonality unstable in places; limited use of non-harmonic notes Acceptable 4½–6½ 32%–46% Unmusical; cadences faulty; tonality unstable; very few non-harmonic notes used Unacceptable 0–4 0%–28% No musical sense; no sense of cadences, wrong key; tonality absent; no non-harmonic notes used 40 TOTAL 40 ÷ 4 x 3 = 30 Copyright reserved Please turn over

Downloaded from hlayiso.com Music 20 DBE/PAT 2017 NSC OPTION 2 (JAZZ) HARMONIC ANALYSIS (Recommended for JAZZ or IAM) Record of Assessment Total: 20 marks Learner's name: ________________________________ Date: ___________________ Study the extract from Punini's Kwela below and answer the questions. Copyright reserved Please turn over

Downloaded from hlayiso.com Music 21 DBE/PAT 2017 NSC 1. Name the key of this piece. _________________________________________ (1) 2. Identify the chords from (a)–(g) and figure them on the score. Use EITHER figuring symbols OR chord symbols. (7) 3. Figure the two basic chords and name the type of cadence at (x) in the space below. (x) _________________________________________ (3) 4. Name the non-chordal notes at (i) and (ii). (i) _________________________________________ (ii) _________________________________________ (2) 5. Circle an example of syncopation on the score. (1) 6. Which word describes the tonality of this piece? Make a cross (X) in the appropriate box. Polytonal Atonal Diatonic Chromatic (1) 7. Give a term that describes the texture of this piece. _________________________________________________ (1) 8. Comment on the rhythm of the right-hand part (G-clef) and left-hand part (F-clef), e.g. style, texture, etc. _____________________________________________________________ _____________________________________________________________ (2) 9. Add and label ONE passing note and ONE auxiliary note to the score in any voice. Adapt given note values accordingly. (2) Marks (20):________________ Copyright reserved Please turn over

Downloaded from hlayiso.com Music 22 DBE/PAT 2017 NSC HARMONISATION Record of Assessment Total: 30 marks Learner's name: ________________________________ Date: _________________ Write a suitable harmonic accompaniment for the melody below. You may use piano, guitar or marimba. Choose an appropriate clef. Marking grid MARK DESCRIPTION LEARNER'S MARK ALLOCATION Chord progression Movement from one chord to another 16 Correctness 8 Rhythm, note stems, chord voicing General impression 16 Style, musicality 40 TOTAL 40 ÷ 4 x 3 = 30 Total marks for PAT 2 (50):__________________ Teacher's signature: ___________________________ Copyright reserved Please turn over

Downloaded from hlayiso.com Music 23 DBE/PAT 2017 NSC ASSESSMENT TOOL FOR HARMONISATION (JAZZ) DESCRIPTION MARK ALLOCATION Chord progression 2 marks per bar x 8 Movement from one Minus ½ mark per mistake 16 marks chord to another Correctness 1 mark per bar x 8 Rhythm, note stems, Minus ½ mark per mistake but not more than 1 mark per bar 8 marks chord voicing General impression Excellent Style, musicality Coherent and musical; use of 14–16 86%–100% cadences and tonality sophisticated; chords and chord extensions successful Good 11–13½ 70%–82% Correct and musical; cadences, chords and chord extensions correct; tonality stable Average Musicality not convincing; cadences, 16 marks 8–10½ 50%–68% chords and chord extensions show weakness; tonality unstable in places Acceptable 5–7½ 32%–46% Unmusical; cadences, chords and chord extensions faulty; tonality unstable Unacceptable 0–4½ 0%–28% No musical sense; no sense of cadences; chords, chord extensions and tonality absent; wrong key 40 TOTAL 40 ÷ 4 x 3 = 30 Copyright reserved Please turn over

Downloaded from hlayiso.com Music 24 DBE/PAT 2017 NSC OPTION 3 (IAM) HARMONIC ANALYSIS Record of Assessment Total: 20 marks Learner's name: _________________________________ Date: ___________________ Study the extract from a traditional African choral work below and answer the questions. Copyright reserved Please turn over

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Downloaded from hlayiso.com Music 26 DBE/PAT 2017 NSC 1. Name the key with which the work starts. _________________________________________ (1) 2. In which key is the B section (bars 84–16) of this work? ______________________________________________ (1) 3. Figure the chords (a)–(e) on the score. Ensure that you indicate the correct position/inversion of the chord. (5) 4. Figure the chords and name the type of cadence at (x) in the space below (x) _____________________________________________________ (4) 5. Name the three most closely related keys of the key in bars 1–8 of this piece. State the relationship in each case. 5.1_____________________________________________________ 5.2_____________________________________________________ 5.3_____________________________________________________ (3) 6. Name the non-chordal notes at (i)–(iii). (i) __________________________________________________ (ii) __________________________________________________ (iii) __________________________________________________ (3) 7. Give a term that describes the texture of this piece. ____________________________________________________ (1) 8. Comment on the compositional technique used in bars 9–12. _____________________________________________________________ _____________________________________________________________ (2) Marks (20): _________________ Copyright reserved Please turn over

Downloaded from hlayiso.com Music 27 DBE/PAT 2017 NSC HARMONISATION Record of Assessment Total: 30 marks Learner's name: _______________________________ Date: __________________ Harmonise the soprano melody below by adding the alto, tenor and bass parts. Marking grid MARK DESCRIPTION LEARNER'S MARK ALLOCATION Chord progression Movement from one chord to another 12 Correctness Notation, doubling, spacing, voice leading 14 General impression Use of non-harmonic notes, musicality 14 40 TOTAL 40 ÷ 4 x 3 = 30 Total marks for PAT 2 (50):__________________ Teacher's signature: __________________________ Copyright reserved Please turn over

Downloaded from hlayiso.com Music 28 DBE/PAT 2017 NSC ASSESSMENT TOOL FOR HARMONISATION (WAM) DESCRIPTION MARK ALLOCATION Chord progression 1 mark per progression, e.g. Ib √ V or V x IV Movement from one Six progressions in first phrase; six progressions in second chord to another phrase = 12 marks. 12 marks A progression between two chords is either correct or incorrect. Correctness 1 mark per chord x 14 Notation, doubling, Minus ½ mark per mistake but not more than 1 mark per chord 14 marks spacing, voice leading General impression Excellent Use of non-harmonic Coherent and musical; use of notes, musicality cadences and tonality sophisticated; 12–14 86%–100% modulation or secondary dominant (not compulsory) is successful; creative use of non-harmonic notes Good 10–11½ 70%–82% Correct and musical; cadences correct; tonality stable; sound non- harmonic notes included Average Musicality not convincing; cadences 14 marks 7–9½ 50%–68% show weakness; tonality unstable in places; limited use of non-harmonic notes Acceptable 4½–6½ 32%–46% Unmusical; cadences faulty; tonality unstable; very few non-harmonic notes used Unacceptable 0–4 0%–28% No musical sense; no sense of cadences, wrong key; tonality absent; no non-harmonic notes used 40 TOTAL 40 ÷ 4 x 3 = 30 Copyright reserved Please turn over

Downloaded from hlayiso.com Music 29 DBE/PAT 2017 NSC PAT 3 IMPROVISATION Record of Assessment Total: 40 marks Learner's name: _______________________________ Date: _____________________ Improvisation option: _____________________________ Instrument: _______________ INSTRUCTIONS 1. You may select any of Options 1–5. 2. You will receive a chord chart/lead sheet two weeks prior to the date of the actual improvisation performance in order for you to prepare the improvisation. 3. No score other than the chord chart/lead sheet may be in front of you during the performance. 4. The accompaniment will be played once as an introduction and then it will be repeated while you improvise. 5. If possible, the improvisation can be recorded for future reference. Two teachers will assess the performance. 6. The performance must include melodic and rhythmic improvisation, except for non-melodic percussion instruments where the focus will be on rhythm. 7. Guitar, piano, keyboard and organ performances may consist of single-line improvisations, as will be the case on all wind, brass and stringed instruments. 8. Learners performing on transposing instruments must take care to prepare their improvisations in the correct key. Separate chord charts/lead sheets will be provided for transposing instruments. 9. The improvisation will be assessed according to the following rubric: IMPROVISATION CRITERIA MAXIMUM MARK LEARNER'S MARK Melodic aspects * Scales/Modes, non-harmonic notes 25 * Melodic motifs, melodic line/shape Rhythmic aspects * Rhythmic variation, complexity 25 * Rhythmic motifs, rhythmic drive General * Creativity * Fluency, accuracy 20 * Intonation, tone production/touch * Technical competence Stylistic sense 20 Musical understanding/interpretation 10 Subtotal 100 Converted mark: Improvisation performance 40 Explanation of style 10 TOTAL 50 Comments: ______________________________________________________________ Teachers' signatures: 1. ________________________ 2. ________________________ Copyright reserved Please turn over

Downloaded from hlayiso.com Music 30 DBE/PAT 2017 NSC IMPROVISATION – EXPLANATION OF STYLE Record of Assessment Total: 10 marks Learner's name: _______________________________ Date: _____________________ Improvisation option: _____________________________ Instrument: ______________ INSTRUCTIONS 1. Learners must give a short written explanation (80–100 words) of the style and material used in the improvisation. 2. The information should include reference to relevant style characteristics of the chosen option, scales and rhythmic motifs that have been used. 3. Marks will be awarded for content, use of language and presentation. ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ ____________________________________________________________________________________ Teachers' signatures: 1. ________________________ 2. _______________________ Date: __________________________ Copyright reserved Please turn over

Downloaded from hlayiso.com Music 31 DBE/PAT 2017 NSC ASSESSMENT TOOL FOR EXPLANATION OF STYLE Content Language and Presentation 20 10 (9–10) (9–10) EXCELLENT EXCELLENT Coherent, accurate, comprehensive (7–8) (7–8) GOOD GOOD Mostly coherent, mostly accurate, detailed (5–6) (5–6) AVERAGE AVERAGE Fairly coherent, fairly accurate, some detail (3–4) (3–4) ACCEPTABLE ACCEPTABLE Some coherence, little accuracy, lacking detail (0–2) (0–2) UNACCEPTABLE UNACCEPTABLE No sense, inaccurate, incomplete 30 ÷ 3 = 10 Copyright reserved Please turn over

Downloaded from hlayiso.com Music 32 DBE/PAT 2017 NSC IMPROVISATION OPTION 1 Piano accompaniment EXAMINATION BLUES Copyright reserved Please turn over

Downloaded from hlayiso.com Music 33 DBE/PAT 2017 NSC CHORD CHART/LEAD SHEET FOR TRANSPOSING INSTRUMENTS EXAMINATION BLUES Clarinet, Tenor/Soprano Saxophone, Trumpet in Bb EXAMINATION BLUES Alto Saxophone in Eb Copyright reserved Please turn over

Downloaded from hlayiso.com Music 34 DBE/PAT 2017 NSC EXAMINATION BLUES French Horn in F EXAMINATION BLUES Piano, Keyboard, Guitar Concert pitch Copyright reserved Please turn over

Downloaded from hlayiso.com Music 35 DBE/PAT 2017 NSC OPTION 2 Piano accompaniment BLUES Lively Copyright reserved Please turn over

Downloaded from hlayiso.com Music 36 DBE/PAT 2017 NSC CHORD CHART/LEAD SHEET FOR TRANSPOSING INSTRUMENTS BLUES Clarinet, Tenor/Soprano Saxophone, Trumpet in Bb BLUES Alto Saxophone in Eb Copyright reserved Please turn over

Downloaded from hlayiso.com Music 37 DBE/PAT 2017 NSC BLUES French Horn in F BLUES Piano, Keyboard, Guitar Concert pitch Bb7 F7 Copyright reserved Please turn over

Downloaded from hlayiso.com Music 38 DBE/PAT 2017 NSC OPTION 3 Piano accompaniment PACHELBEL'S CONTEMPLATION Copyright reserved Please turn over

Downloaded from hlayiso.com Music 39 DBE/PAT 2017 NSC CHORD CHART/LEAD SHEET FOR TRANSPOSING INSTRUMENTS PACHELBEL'S CONTEMPLATION Clarinet, Tenor/Soprano Saxophone, Trumpet in Bb PACHELBEL'S CONTEMPLATION Alto Saxophone in Eb Copyright reserved Please turn over

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Downloaded from hlayiso.com Music 41 DBE/PAT 2017 NSC OPTION 4 Piano accompaniment PHONELA'S JIVE C/E Copyright reserved Please turn over

Downloaded from hlayiso.com Music 42 DBE/PAT 2017 NSC CHORD CHART/LEAD SHEET FOR TRANSPOSING INSTRUMENTS PHONELA'S JIVE Clarinet, Tenor/Soprano Saxophone, Trumpet in Bb PHONELA'S JIVE Alto Saxophone in Eb Copyright reserved Please turn over

Downloaded from hlayiso.com Music 43 DBE/PAT 2017 NSC PHONELA'S JIVE French Horn in F PHONELA'S JIVE Piano, Keyboard, Guitar Concert pitch Copyright reserved Please turn over

Downloaded from hlayiso.com Music 44 DBE/PAT 2017 NSC OPTION 5 Piano accompaniment DBE SHUFFLE Copyright reserved Please turn over

Downloaded from hlayiso.com Music 45 DBE/PAT 2017 NSC CHORD CHART/LEAD SHEET FOR TRANSPOSING INSTRUMENTS DBE SHUFFLE Clarinet, Tenor/Soprano Saxophone, Trumpet in Bb DBE SHUFFLE Alto Saxophone in Eb DBE SHUFFLE French Horn in F Copyright reserved Please turn over

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Downloaded from hlayiso.com Music 47 DBE/PAT 2017 NSC PAT 4 COMPOSITION Record of Assessment Total: 50 marks Learner's name: _____________________________________ Date: _________________ Title of composition: ______________________________________________________________ Instruments: _____________________________________________________________________ INSTRUCTIONS Compose an original work in which the following requirements are met: 1. Scope: A minimum of 12 bars (24 bars if the time signature is 2/4 or 3/8). The composition may be longer. 2. Instrumentation: Keyboard instrument; keyboard instrument and one solo instrument/voice; a song with accompaniment; jazz combo; mixed choir (SATB); any combination of at least four instruments; Classical/African percussion for at least four instruments. 3. Style: The composition must have a tonal harmonic basis and the texture can be polyphonic or homophonic, or both. Compositions for percussion instruments must be based on rhythmic principles. 4. Score: A complete score (including tempo indication, performance directions, dynamic and articulation indications) must be neatly handwritten or printed. 5. NOTE: A score with a melodic line and only suggested chords is NOT acceptable. ASSESSMENT TOOL AND MARKING GRID FOR COMPOSITION MAXIMUM LEARNER'S DESCRIPTION MARK MARK Instruments/Voices Choice of instruments/voices and their use within the 10 composition Creativity Creativity of writing, use of original ideas, musical 20 elements, style Score Adherence to musical conventions regarding musical 10 notation and musical/performance indications General Realisation of the goal of the composition, presentation of 10 the score, neatness, makes sense, score can be performed as is TOTAL 50 Teacher's signature: _____________________________________ OR Copyright reserved Please turn over

Downloaded from hlayiso.com Music 48 DBE/PAT 2017 NSC ARRANGEMENT Record of Assessment Total: 50 marks Learner's name: _____________________________________ Date: _________________ Title of composition: ______________________________________________________________ Instruments: _____________________________________________________________________ INSTRUCTIONS Arrange a short, existing piece of music to make it suitable for performance by media other than those for which it was originally composed. The following requirements must be met: 1. Scope: A minimum of 12 bars (24 bars if the time signature is 2/4 or 3/8). The arrangement may be longer. 2. Instrumentation: Keyboard instrument; keyboard instrument and one solo instrument/voice; a song with accompaniment; jazz combo; mixed choir (SATB); any combination of at least four instruments; Classical/African percussion for at least four instruments. 3. Style: The arrangement must have a tonal harmonic basis and the texture can be polyphonic or homophonic, or both. Arrangements for percussion instruments must be based on rhythmic principles. 4. Score: A complete score (including tempo indication, performance directions, dynamic and articulation indications) must be neatly handwritten or typed/printed. 5. NOTE: A score with a melodic line and only suggested chords is NOT acceptable. ASSESSMENT TOOL AND MARKING GRID FOR COMPOSITION MAXIMUM LEARNER'S DESCRIPTION MARK MARK Instruments/Voices Choice of instruments/voices and their use within the 10 arrangement Creativity Creativity of writing, use of original ideas, musical 20 elements, style, etc. Score Adherence to musical conventions regarding musical 10 notation and musical/performance indications General Realisation of the goal of the arrangement, presentation 10 of the score, neatness, makes sense, score can be performed as is TOTAL 50 Teacher's signature: _____________________________________ Copyright reserved Please turn over

Downloaded from hlayiso.com Music 49 DBE/PAT 2017 NSC OPTION 1 Arrangement SONG FOR ENID OPTION 2 Arrangement LOVE ME TENDER Copyright reserved Please turn over

Downloaded from hlayiso.com Music 50 DBE/PAT 2017 NSC PAT 5 WRITTEN RESEARCH ASSIGNMENT Record of Assessment Total: 50 marks Learner's name: _____________________________________ Date: _________________ INSTRUCTIONS 1. Teachers may select any research topic for the learners which has direct relevance to the CAPS content, so that the research becomes preparation for the final examination. 2. The length of the assignment must be 1 000–1 500 words. The teacher may provide headings and subheadings to assist the learner with the structure of the assignment but the written text must be the learner's own work. 3. Mere Internet downloads are not acceptable. Any form of plagiarism will be severely penalised. The teacher must explain the term 'plagiarism' to the learners. 4. A bibliography and discography must be included. 5. The assignment must be handwritten or typed/printed. ASSESSMENT TOOL AND MARKING GRID FOR WRITTEN RESEARCH ASSIGNMENT MAXIMUM LEARNER'S DESCRIPTION MARKS MARK Content 40 Logical, coherent and accurate information Bibliography and discography 5 Quality of sources Format, use of language and presentation Correct spelling, grammar, paragraphing, neatness of 5 presentation TOTAL 50 Comments: ____________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ Teachers' signatures: 1. _____________________________________ 2. _____________________________________ Copyright reserved Please turn over

Downloaded from hlayiso.com Music 51 DBE/PAT 2017 NSC OPTION 1 (WAM) INSTRUCTION Research the origin and early development of opera from 1585 to 1625 in Italy. 1. Origins of opera: Greek Drama, Mystery Plays, Morality Plays, Nativity Plays 2. Foundation and ideals of the camerata 3. Early operas, their composers and librettists 4. Claudio Monteverdi as the first opera genius 5. Bibliography and discography 6. Format, use of language and presentation Record of Assessment Total: 50 marks Learner's name: ___________________________________ Date: _________________ MAXIMUM LEARNER'S DESCRIPTION MARKS MARK Content 8 Origins of opera Camerata 10 Early operas and composers 8 Claudio Monteverdi 14 Subtotal 40 Bibliography and discography 5 Quality of sources Format, use of language and presentation Correct spelling, grammar, paragraphing, neatness of 5 presentation TOTAL 50 Comments: _______________________________________________________________ _________________________________________________________________________ _________________________________________________________________________ Teachers' signatures: 1. _____________________________________ 2. _____________________________________ Copyright reserved Please turn over

Downloaded from hlayiso.com Music 52 DBE/PAT 2017 NSC OPTION 2 (JAZZ) INSTRUCTION Research the origin and early development of marabi. 1. Origins of marabi: Political and social climate 2. The marabi sound: Instrumentation and music characteristics 3. Music examples 4. The importance of the pianist 5 The artists and bands: One male group and one female group 6. Bibliography and discography 7. Format, use of language and presentation Record of Assessment Total: 50 marks Learner's name: _____________________________________ Date: _________________ MAXIMUM LEARNER'S DESCRIPTION MARKS MARK Content 8 Origins of marabi Marabi sound 10 Importance of the pianist 8 Artists and bands 14 Subtotal 40 Bibliography and discography 5 Quality of sources Format, use of language and presentation Correct spelling, grammar, paragraphing, neatness of 5 presentation TOTAL 50 Comments: ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ Teachers' signatures: 1. _____________________________________ 2. _____________________________________ Copyright reserved Please turn over

Downloaded from hlayiso.com Music 53 DBE/PAT 2017 NSC OPTION 3 (IAM) INSTRUCTION Research the music of one ceremony of an indigenous South African culture other than your own. 1. Origins of the music 2. Role of music in the ceremony 3. Instruments and dances 4. Development from traditional to current trends 5 Bibliography and discography 6. Format, use of language and presentation Record of Assessment Total: 50 marks Learner's name: _____________________________________ Date: _________________ MAXIMUM LEARNER'S DESCRIPTION MARKS MARK Content 8 Origins of the music Role of music 10 Instruments and dances 8 Development: Traditional/Current trends 14 Subtotal 40 Bibliography and discography 5 Quality of sources Format, use of language and presentation Correct spelling, grammar, paragraphing, neatness of 5 presentation TOTAL 50 Comments: ______________________________________________________________________ ______________________________________________________________________ ______________________________________________________________________ Teachers' signatures: 1. _____________________________________ 2. _____________________________________ Copyright reserved Please turn over

Downloaded from hlayiso.com Music 54 DBE/PAT 2017 NSC ASSESSMENT TOOL FOR WRITTEN ASSIGNMENT EXCELLENT GOOD AVERAGE ACCEPTABLE UNACCEPTABLE Content (32–40) (24–31) (18–23) (12–17) (0–11) 80%–100% 60%–79% 45%–59% 30%–44% 0%–29% Evidence of Material is well Evidence of Little evidence No evidence of exceptional researched some research of research research research Subject matter Subject matter Subject matter Subject matter Subject matter of a high quality, of good quality, of average weak with little poor with no detail accurate and mostly accurate quality, has detail detailed and detailed some detail Superb Well planned, Some planning, Weak planning, No planning, planning, structured, well structure and structure and structure or carefully analysed analysis analysis analysis structured, detailed analysis Bibliography (4–5) (3–3½) (2–2½) (1½) (0–1) Discography Extensive use of Suitable use of Some relevant Resources Little or no varied varied resources used insufficient and evidence of resources resources often unrelated resources used Format, use (4–5) (3–3½) (2–2½) (1½) (0–1) of language Perfect layout, Appropriate Satisfactory Muddled layout, Layout makes no and exemplary use layout, clear use layout, fair use weak language sense, poor use of presentation of language, of language, of language, usage, weak language, poor (introduction, meticulous well presented suitably presentation presentation body, presentation presented conclusion) Copyright reserved Please turn over

Downloaded from hlayiso.com Music 55 DBE/PAT 2017 NSC 6. DECLARATION OF AUTHENTICITY DECLARATION OF AUTHENTICITY Name of School: Subject: Grade: I hereby declare that all work contained in this portfolio is my own original work. Signature of Learner Date ________________________________ Name of Learner I hereby endorse the above statement by the learner. Signature of Teacher Date ________________________________ Name of Teacher School stamp Copyright reserved Please turn over

Downloaded from hlayiso.com Music 56 DBE/PAT 2017 NSC 7. SUGGESTED RESOURCES WESTERN ART MUSIC (WAM) BOOKS: Bennett, R. Enjoying Music Book 1, Longman 1991 Bennett, R. History of Music Bennett, R. Form in Music Boyden, D. An Introduction to Music, Faber Paperbacks Grout, DJ. A Short History of Opera Hosier, J. Instruments of the Orchestra, Oxford University Press Warburton, A. Analysis of Music Classics Book 1 and 3, Longman Wise, P and Van der Spuy, M. Musical History and General Knowledge of Music INTERNET: Wikipedia, the Free Encyclopaedia JAZZ BOOKS: Anderson, M. Music in the Mix, Raven Press Ansell, G. Soweto Blues, Continuum 2005 Ballantine, C. Marabi Nights, University of KwaZulu-Natal Press 2012 Coplan, D. In Township Tonight!, Raven Press nd The Garland Handbook of African Music 2 Edition. Edited by Ruth M Stone INTERNET: Wikipedia, the Free Encyclopaedia www.music.org.za http://uzpace.uzulu.ac.za http://www.routledge.com www.afribeat.com http://www.southafrica.info INDIGENOUS AFRICAN MUSIC (IAM) BOOKS: Agu, Dan CC. Form and Analysis of African Music Anderson, M. Music in the Mix, Raven Press Carver, M. Understanding African Music, Rhodes University Coplan, D. In Township Tonight!, Raven Press Stapelton, C and May, C. African All-Stars, Quartet Books 1987 nd The Garland Handbook of African Music 2 Edition. Edited by Ruth M Stone INTERNET: Wikipedia, the Free Encyclopaedia Molepo, M. Kiba Music – Its Origin, Structure, Challenges and The Way Forward, M Precis http://www.southafrica.info www.music.org.za www.3rdearmusic.com http://uzpace.uzulu.ac.za http://flatint.blogspot.com http://www.routledge.com http://isicathamiyambubevsmoderndayacapella.blogspot OR ANY OTHER RELEVANT RESOURCES Copyright reserved Please turn over

Downloaded from hlayiso.com Music 57 DBE/PAT 2017 NSC 8. CONCLUSION Upon completion of the practical assessment task learners should be able to demonstrate their understanding of the industry, enhance their knowledge, skills, values and reasoning abilities as well as establish connections to life outside the classroom and address real-world challenges. The PAT furthermore develops learners' life skills and provides opportunities for learners to engage in their own learning. Copyright reserved