GENERAL EDUCATION &

TRAINING PHASE (GET)

MUSIC
SBA EXEMPLAR BOOKLET
GRADES 7-9
FOREWORD
The Department of Basic Education has pleasure in releasing a subject exemplar booklet
for School Based Assessment (SBA) to assist and guide teachers with the setting and
development of standardised SBA tasks and assessment tools. The SBA booklets have
been written by teams of subject specialists to assist teachers to adapt teaching and
learning methods to improve learner performance and the quality and management of
SBA.

The primary purpose of this SBA exemplar booklet is to improve the quality of teaching
and assessment (both formal and informal) as well as the learner’s process of learning
and understanding of the subject content. Assessment of and for learning is an ongoing
process that develops from the interaction of teaching, learning and assessment. To
improve learner performance, assessment needs to support and drive focused, effective
teaching.

School Based Assessment forms an integral part of teaching and learning, its value as a yardstick of effective quality

remediation, but it also assists to improve the quality of teaching and learning. The information provided through quality
assessment is therefore valuable for teacher planning as part of improving learning outcomes.

Assessment tasks should be designed with care to cover the prescribed content and skills of the subject as well as

ensure that the learner understands the content and has been exposed to extensive informal assessment opportunities
before doing a formal assessment activity.

The exemplar tasks contained in this booklet, developed to the best standard in the subject, is aimed to illustrate best
practices in terms of setting formal and informal assessment. Teachers are encouraged to use the exemplar tasks as
models to set their own formal and informal assessment activities.

MR HM MWELI
DIRECTOR-GENERAL
DATE:

1
Table of Contents

1. Introduction ........................................................................................................ 3
2. Aims and objectives .......................................................................................... 3
3. Assessment Tasks ............................................................................................ 3
4. Programme of Assessment (PoA) .................................................................... 4
5. Quality Assurance Process .............................................................................10
6. Cognitive and difficulty levels in CA ...............................................................12
Annexure ........................................................................................................132

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1. Introduction

There is no decision that teachers make that

has a greater impact on learners’ opportunities
to learn and on their perceptions about what a
subject is than the selection or creation of tasks

Assessment is a continuous planned process of identifying, gathering and

interpreting information about the performance of learners, using various forms of
assessment. It involves four steps: generating and collecting evidence of
achievement; evaluating this evidence; recording the findings and using this
information to understand and thereby assist the learner’s development in order to
improve the process of learning and teaching. School-based assessment (SBA) is
conducted by the teacher at the school level and is summative, i.e. it assesses
performance against curriculum standards.
SBA may take place at different points of the learning process, as described
through Section 4 in the Curriculum and Assessment Policy Statement (CAPS) and
the assessment results are recorded and count towards a learner’s final promotion
or certification.
However, assessment should always contribute to a learner’s learning and
progress. SBA, therefore, also provides information on a learner’s attainment of
knowledge, understanding and skills and is used to contribute to individual learning
by reinforcing and complementing that learning.

2. Aims and objectives

Provide quality-assured examples of assessment tasks to capacitate teachers in
the setting of SBA tasks.
Provide guidance to teachers when setting SBA tasks.
Deepen understanding of the cognitive demand of a task.

3. Assessment Tasks
Assessment tasks in this booklet include term tests, assignments, practical
tasks and examinations. These tasks (theory and practical) are a collection of
assessment methods and questions which sample a domain of knowledge and/or
skills.
The assessment tasks included mostly focus on theory and practical component of
the subject in Grades 7, 8 and 9.
In Creative Arts, the practical component involves projects as part of development
processes.

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 Process:
This is the procedure that a person might learn or create in order to be able to
produce an artistic product. Examples of processes include concept development
through brain storming, engaging with a concept brief, practical component
(creating and making), presentation and evaluation. Each genre or discipline has
its own process structure depending on the task at hand.
Product:
This is a complete presentation of an end product or performance. In performing
arts (dance, drama, and music) a performance is a culmination of conceptual and
repeated rehearsal processes. In Visual Arts (design and craft) a product is a
culmination of creative processes (e.g. conceptualization, drawing process ,
visual references and making) which result into 2D and 3D art works.

Programme of Assessment (PoA)

Creative Arts mostly uses tests, assignments, practical tasks and examinations
(theory) to assess knowledge, skills and understanding its various different
applications, such as reasoning, planning, analysing and evaluating. Assignments
and practical tasks could include projects, simulations, research, role play, design
processes, drawing exercises, scribbling, listening exercises, to name but a few.
Homework pieces, classwork pieces, tests and examinations are examples of the
written component through which learners’ understanding of theory is evaluated.
Case studies (description of an event, usually in the form of a piece of text, a
picture or an electronic recording that concerns a realistic situation) where learners
are prompted to analyse the situation, draw conclusions /make decisions/ suggest
courses of action, form part of examples of assignments and other practical tasks.
The PoA also includes a project. The Practical Assessment Task (PAT) generates
evidence through evaluation of the art in electronic form and product that includes
research/investigation, analysis, design and implementation.
The PAT further provides evidence for a range of knowledge, skills and
understanding within and across more than one topic. It therefore benefits learning
and helps to make the assessment process more meaningful for learners and
gives assurance of overall competence.
Note: In Visual Arts PAT, it is important that evidence of learner process
development of tasks should be kept in a source book in which visual references,
evidence concept development, drawing processes, visual references are kept.
In Performing Arts PAT, a source book is used to keep evidence of concept
development, brainstorming of story line or dance structure, story board, and the
plot: beginning, middle and ending; materials to be used, visual references, audio
sources like CDs, and equipment.
See Annexure A for a summary of assessment methods in Creative Arts.

4. Quality Assurance Process

Quality assurance of SBA is a planned and systematic process of ensuring that
SBA tasks are valid, reliable, practicable, as well as equitable and fair and thus

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 increasing public confidence in SBA. This would include all the activities that take
place before, during and after the actual assessment, that contribute to an
improved quality of SBA.
School Based Assessment is a very important component of every candidate’s
results at the end of Grade 9. It has been the weak link in the assessment chain
…….” (Umalusi: Report on QA of NSC: Dec 2013)

The SBA is aimed at helping to address challenges like:

, district, provincial and national

levels.

entation of PATs at provincial and

district levels remain inadequate.
Little or no evidence of monitoring of the implementation of PATs at
school level in some cases.

This booklet focuses mainly on the process of setting quality SBA tasks.
Setting of tasks
Guidelines towards setting quality SBA tasks
Know the curriculum and its requirements to identify the knowledge,
understanding and skills which are to be assessed.
Ensure that the assessment allows learners to show that they have the
required knowledge, understanding and skills to meet the national
standards.
Ensure that the scenarios or contexts are open and comprehensible to
all learners.
Ensure that the appropriate reading level is used. Tools to determine the
reading level of a document are available in most wo
Ensure that no part of the assessment has an adverse impact on
specific groups of learners, e.g. disabled learners, race, faith, height,
weight, hair, eye colour, political views, culture, or sexual and religious
orientation.
Ensure that all illustrative material reflect an inclusive view of society
and promotes equality.
Consider time and weighting.
Construction features to consider when setting tests and examinations:
The language used in the question paper should not be a barrier.

5
 The weighting given to a particular part of the question paper reflects
its relative importance.
Sampling is systematic but unpredictable to avoid question ‘spotting’.
The cognitive demand of the paper is appropriate, i.e. includes lower
order, middle order and higher order demands to the prescribed ratio.
The level of difficulty of the individual questions is appropriate and the
level of difficulty of the overall paper is appropriate to the level of the
grade.
The mark available for each question matches the demands of the task
and the test specification.
The memorandum allows for a range of valid answers, especially for
open-ended questions.
Different types of questions are used (See Annexure B for a summary of
types of questions).
Quality assurance helps to support teachers and build expertise and capacity in
the education system to deliver positive outcomes for children and young people.
Through sharing, understanding and applying standards and expectations, quality
assurance helps to raise standards and expectations and levels of consistency
across teachers and schools.
How can quality be ensured at school level?
Role of fellow Phase and Subject Teacher: Peer reviews of items by teachers
who teach the same subject in the phase is encouraged.
Role of the HOD: HODs need to use the criteria specified above to evaluate the
quality and construction features of assessment tasks.

Moderation of tasks
Moderation is the term used to describe approaches for arriving at a shared
understanding of standards and expectations. It further helps to ensure that
there is an appropriate focus on outcomes for learners, that learning is at the
appropriate level and that learners develop the skills for learning, including higher
order thinking skills, which will allow them to be successful in the future.
Moderation of SBA tasks, prior to the administration of the assessment tasks
involves teachers, and other professionals, such as specialist senior
teachers, heads of departments or subject advisors, as appropriate, working
together, drawing on guidance and exemplification and building on standards and
expectations to check that SBA tasks provide learners with fair and valid
opportunities to meet the standards and expectations before assessments are
used.

Moderation of the assessment task should be done using the following evaluation
criteria:
the assessment tasks are aligned to the CAPS;
assessments tasks and tools are valid, fair, and practicable;
the instructions relating to the assessment tasks are clearly stated;

6
 the content must be in keeping with what the learner has been exposed
to;
the assessment task must be free of any bias;
the language of the assessment task is in keeping with the language
level of the learners for which it is designed; and
the cognitive and difficulty levels at which the assessment tasks are
pitched are consistent with the requirements as stipulated in the CAPS.
N.B. Teachers involved in developing their assessment approaches through
participation in moderation activities is a highly effective form of
professional development.
Further moderation activities will generally take place after the assessment task is
administered.
N.B. Use the Subject Committee forum to foster development and exposure of
teachers to the preparation of moderation activities i.e before and after the
administration of SBA tasks. Moderation process should take cognizance of arts
pathways in Grades 8 and 9.
Start up workshop should be held in Term 1 for teachers to understand SBA
processes and moderation procedures. This is important to orientate newly
appointed teachers.

Moderation Guidelines for Creative Arts

1. School Moderation
Creative Arts HOD moderates 10% SBA tasks and Examination Papers (pre
and post moderation processes) per Grade, representing weak, moderate and
excellent performance. HODs should be provided with guidelines and
moderation instruments that would support their moderation process in schools.
In small schools, the work of all learners per grade should be moderated by
the HOD.

2. District / Provincial Moderation

Moderation takes place at three levels (School, Cluster/Circuit/District and
Province) in the academic year (January to December).
A minimum of 10% of the schools per district should be moderated. The focus
for moderation would be on Grades 7, 8 and 9.
First phase, Term 1: Standard Setting – sharing of policy requirements,
providing guidelines and support and activities for enrichment.
Second phase: Term 2/3: Moderation – moderation of term 1 and term 2
activities
Third phase: term 4: Verification of mark sheets, all tasks completed, and
general compliance

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 Suggested method of moderation
Cluster moderation: Teachers moderate each other’s work by means of a
common moderation instrument, supported by the Subject
Advisor
Desktop Moderation: Subject Advisor moderates a sample of the of learners’
work as well as teachers’ files. Subject Advisor provides a
detailed and comprehensive report to the teacher, HOD,
Principal and Circuit Manager
Face Moderation: Subject Advisor moderates a sample of learners’ Practical
Performances, using a rubric.

Sampling Methodology
The Statistical Moderation Report data will be cross referenced with districts’
performance (schools with Rejected SBA marks, analyse correlation between
previously sampled underperforming districts and schools/centres and schools with
rejected SBA marks; schools with SBA marks lower than examination marks; schools
with SBA marks > 15%)

Criteria for moderation of an Assessment Task:

Moderation of learner evidence

compliance to marking memo/tool
Accuracy of marking guidelines, rubrics
Evidence of moderation at school, district or province

8
 Part A Moderation Part B Part C
of teacher Moderation of Summaries
portfolios learner portfolios
1. Technical criteria 9. Learners' performance 12. Areas of good practice
2. Content coverage 10. Quality of marking 13. Areas of concern
3. Quality of tasks 11. Internal moderation 14. Recommendations
4. Cognitive demand
5. Quality of marking tools
6. Adherence to policy
7. Internal moderation
8. Overall impression

Approach
Conduct Conduct
centralised centralised
DBE selects 2 moderation in moderation in a
Recruitment of sample a province province
DBE SBA Moderation Statistical
districts per June Compile
Moderators Teams Compile Moderation of
province Feedback
( Competency Final Feedback October SBA
Report
Test) (5 days) Report ( 5 days) (2015)
PEDs select 10 On Day 5 : Dissemination
schools per Report
Training of Preliminary of reports to
sample district On day 5 : disseminated
DBE SBA findings PEDS
20 Learner presented to Report Preliminary to PEDs
Moderation disseminated to
Team Portfolios Subject findings
(Sample of Advisors / PEDs presented to
high, moderate sampled Subject
and low schools Advisors /
performance) SBA/ Exam sampled
Mark schools

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5. Cognitive and difficulty levels in CA

All questions are not created equal – different

questions require different levels and kinds of
learner thinking.

Cognitive Levels
The cognitive demand of a question is the kind and level of thinking required of
learners in order to successfully engage with and answer a question.
High cognitive questions are those which demand that the learners manipulate
bits of information previously learned to create and support an answer with
logically reasoned evidence. This sort of question is usually open-ended,
interpretive, evaluative, inquiry-based, inferential and synthesis-based.
Lower cognitive questions are more basic. They ask students to recall material
previously presented and learned. No or very little thinking and reasoning
required. These questions are generally direct, closed, recall-related and
questions that measure knowledge only – factual and process.

Bloom’s revised taxonomy illustrates the different cognitive levels:

In 2001 Bloom’s Taxonomy was revised. Basically, Bloom’s six major categories were
changed from noun to verb forms. Additionally, the lowest level of the original,
knowledge was renamed and became remembering. Finally, comprehension and
synthesis were retitled to understanding and creating. The changes are explained in
the diagram below:

Caption: Terminology changes "The graphic is a representation of the NEW

verbage associated with the long familiar Bloom's Taxonomy. Note the change from
Nouns to Verbs [e.g., Application to Applying] to describe the different levels of the
taxonomy. Note that the top two levels are essentially exchanged from the Old to the
New version." (Schultz, 2005) (Evaluation moved from the top to Evaluating in the
second from the top, Synthesis moved from second on top to the top as Creating.)
Source: http://www.odu.edu/educ/llschult/blooms_taxonomy.htm

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Difficulty Levels
The difficulty level of a question refers to the ease with how a learner is able to answer
a question. It is described as easy, moderately challenging, difficult or very difficult.
What makes a question difficult?
One or more of the following influences the difficulty level of a content:
Content (subject/concept/facts/principles/procedures), e.g.
o Advanced content is generally more difficult or content learned in
grade 10 and that is repeated and practiced in grade 11 and 12
usually becomes easier by grade 12.
o Number of steps required or the length of the answer could influence
difficulty.
Stimulus (item/question)
o Language, text or scenario used could influence difficulty.
o Re-read required or limited time could influence difficulty.
Task (process)
o Short questions vs. paragraph or essay – answers that require
extended writing are generally more difficult.
o Steps provided or scaffolding of questions – open-ended questions
are generally more difficult than structured questions, i.e. questions
that lead or guide learners.
Expected Response
o Mark scheme, memo, e.g. detail required in memo vs. detail
expected in question
o Allocation of marks
Note: Within each cognitive level, there exist different difficulty levels.
Interpretation of cognitive levels in CA
See Annexure C for a description of cognitive levels and an explanation of
cognitive levels for the practical content in CA.

11
6. Exemplar SBA Tasks and Memos

By determining the cognitive demands of tasks

and being cognisant of the features of tasks
that make them high-level or low-level tasks,
one will be able to select or modify tasks that
allow opportunities for all learners

The level and kind of thinking in which learners

engage determine what they will learn.

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GRADE 7 TERM 2: MUSIC QUESTIONS

QUESTION 1
Choose a statement from column B that matches with a word in column A. Write only
the letter next to the question number e.g 1.1 A
1.1 __________ is blown to produce a sound. (1)
A. Drum
B. Tambourine
C. Whistle
D. Marimba
1.2 _______ equals to two crotchet beats. (1)
A. Quaver
B. Crotchet
C. Minim
D. Semiquaver.
1.3 A music symbol written at the beginning of the stave is ______. (1)
A. Minim
B. Clef
C. Instrument
D. Note name
1.4 A____ is used to separate music notes in a stave. (1)
A. Tonic solfa
B. Dotted minim
C. Semibreve
D. Bar.
1.5 A music element describing time in music is called ________ (1)
A. Tempo
B. Rhythm
C. Dynamics
D. Harmony.
1.6 In music we use the first ____ letters of the alphabet. (1)
A. 5
B. 3
C. 7
D. 6
1.7 Music done by one person is ______ (1)
A. Ensemble
B. Solo
C. Duet
D. Choir.

1.8 Music words are __________ (1)

A. Instruments
B. Lyrics
C. Trio
D. Song
1.9 The music note equivalent to four crochet is called _______ (1)
A. Minim

13
 B. Crotchet
C. Semibreve
D. Quaver.
1.10 A dotted minim duration is equal to 3 _____beats. (1)

A. Semibreve
B. Crochet
C. Quaver
D. All of the above
[10]
QUESTION 2
Define the following music terms:
2.1 Treble clef (2)
2.2 Time signature (2)
2.3 Semibreve (2)
2.4 Rhythm (2)
2.5 Pitch (2)
[10]
QUESTION 3 Study the following table and fill in the missing gaps:

(5x1) [5]

QUESTION 4
4.1 What is this symbol called?
(1)
4.2 Give a musical term for fast / slow?
(1)
4.3 Give a musical term for soft / loud?
Note Symbol French Time Names Values in relation to
crotchet beat

3.1 4 beats
3.2 Taa-aa 3.3
3.4 Taa 1 beat
3.5 ½ beat each

(1)
4.4 What are words in a song called? (1)
4.5 Name the first note in tonic solfa notation? (1)

4.6 Write the following notes on the stave as whole notes (semibreves): (2x5=10)

14
 G C A E D
[15]

QUESTION 5
Study the piece of music below and answer the questions that follow:

5.1 What is the title of the song? (1)

5.2 In which key is the song? (1)
5.3 How many bars does the song have? (1)
5.4 What is the time signature of the song? (1)
5.5 Give any 2 other time signatures you know? (2)
5.6 What is the name of the rest in bar 2 and how many beats does it have? (3)
5.7 What is the name of the first note in bar 3? (2)

[10]
TOTAL 50 MARKS

15
GRADE 7 TERM 2: MUSIC MEMORUNDUM
QUESTION 1
1.1 C
1.2 C
1.3 B
1.4 D
1.5 A
1.6 C
1.7 B
1.8 B
1.9 C
1.10. B
(10X1) [10]
QUESTION 2
2.1 Treble clef is a music sign put at the beginning of a stave.
2.2 Time signature is made up of two numbers like a fraction at the beginning of the
stave and shows how the music is to be counted.
2.3 Semibreve is a note with four counts / four crotchet beats.
2.4 Rhythm is a regular repetition of similar features.
2.5 Pitch in music is how high or low a note is.
(5x2) [10]

QUESTION 3
Note Symbol Names Values in relation to crotchet
beat

3.1 Semibreve 4 beats

Taa-aa 3.3
3.2
2 beats

3.4 Taa 1 beat

3.5 ½ beat each

A pair of quavers
(5x1) [5]

16
QUESTION 4

4.1 Treble clef / G clef or Soprano clef (1)

4.2 Tempo (1)
4.3 Dynamics (1)
4.4 Lyrics (1)
4.5 Doh / d (1)

(2) (2) (2) (2) (2)

[15]
QUESTION 5

5.1 Isiponono (1)

5.2 Key G (1)
5.3 9 bars (1)
5.4 4/4 or C or Common Time (1)
5.5 2/4 or 3/4 or 2/2 or 3/8 etc (2)
5.6 Crotchet rest = 1 beat (3)
5.7 Quaver note (2)
[10]
MUSIC TOTAL MARKS: 50

17
GRADE 8 TERM 2: MUSIC QUESTIONS
QUESTION 1

Choose the correct answer and write only the number and the letter next to the correct
answer e.g. 1. D

1.1 In music, dynamics means how _____ the music is. (1)
A. Fast or slow
B. Soft or loud
C. High or low
D. All of the above

1.2 A rest is __________ (1)

A. the period of silence in music
B. A group of sharps or flats
C. The distance between two notes
D. An accidental in music

1.3 Forte means________ (1)

A. The contrast of movements
B. The short rhythmic pattern
C. To play/ sing loudly
D. Tempo

1.4 A triplet is a ____________ (1)

A. The duet sung by two people
B. A set of words that make up a song
C. The repeated beats in music
D. Rhythm of three notes played or sung as two notes of the same value

1.5 A quaver triplet, is equal to ____________ (1)

A. One crotchet beat
B. Two crotchet beats
C. Three crotchet beats
D. All of the above
[1x5=5]

QUESTION 2
Copy and complete the table below
NAME SYMBOL DURATION REST
(in relation to crotchet beat)
Quaver 2.1 ½

2.2 2.3

Crotchet 2.4 1 2.5

(5X1) [5]

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QUESTION 3
Write the following notes as semibreves.

F B C D A (5x1) [5]

QUESTION 4
Complete the following 3 bar phrases to suit the time signature given. Write the
number and the symbol of the note omitted. [5]

(I) (II) (III)

(IV) (V)

QUESTION 5

5.1 Give one example of an aerophone or wind instrument? (1)

5.2 Explain how sound is produced on this instrument? (2)
5.3 Give one example of a chordophone or string instrument? (1)
5.4 How many crotchet beat(s) is a dotted semibreve? (1)
[5]

19
QUESTION 6
Study the following choral piece of music, a folk song, Mmangwane, notated and
transcribed by O.J. Mosinki and then answer the questions that follow:

6.1 In which key is the piece? (Refer to the key signature.) (1)
6.2 What do the two numbers (top and bottom) in the time signature stand for? (4)
6.3 Write down the three dynamic indications used? (3)
6.4 Who is the composer of the above music piece? (1)
6.5 What is the title of this folk song above? (1)

[10]

20
QUESTION 7

Read the following passage and answer the questions that follow:

Zabantu Vincent Dubazana, affectionately known as

“Bushy” was born in Umlazi Township on the 30th
April 1965. When his parents divorced in 1971, his
mother moved with him and other 3 siblings to Rainy
village at Libode. He then attended his primary
education at Rainy JSS and completed his Standard
7 at Zimele JSS in Mthatha in 1981.
He further attended his high school education at
Nyanga High in Engcobo and completed his standard
10 at Mt Hargreaves SSS in Matatiele in 1985. He
then enrolled with University of Transkei (Unitra) for a
B.A. in Music Education from 1986 to 1989. He left
Unitra without having completed his studies.
In 1990 he went to Johannesburg and enrolled with the University of Witwatersrand
(Wits) for a higher Diploma in Music Education (HDE) in which he graduated in 1994.
In 1995 he moved back to Mthatha and was employed as a Music teacher and later an
Arts and Culture teacher at St Joseph’s JSS until he resigned in July 2014.He was a
School Choir Piano Accompanist and well- known Piano teacher.
Bushy Dubazana is a nationally renowned Pianist, Saxophonist and above all, a
Prolific Composer. He has been a leader and a director of his own 8 piece band. The
band consisted of an Alto Saxophone, Piano, Guitar, Bass, Drums, Percussionist as
well as two backing vocalists. He composes Afro-Beat instrumental music which is
dominated by traditional Phondo and Xhosa Melodies. He worked with an artist named
Fela Kuti who is from Nigeria.
His works includes 5 Albums, namely:
Nepotism, year 1997 recorded in Johannesburg
Pride Africa, year 2002 recorded in Johannesburg
Eastern Cape Experience, year 2006 recorded in Port Elizabeth
Thank You, year 2011 recorded in Durban
Miles To 50, years 2015 recorded in Durban

Throughout his career he has always collaborated with other musicians by the likes of
Stompie Mavi, Sipho Gumede, Mandla Masuku, Leon Tuta, Teboho bLetlaka and
Brain Hlongwane to mention a few.

21
7.1 Name any two instruments played by Bushy’s band and state which families of
musical instruments do they belong?
(4)
7.2 Which two institutions did Bushy enrol with? (2)
7.3 Mention any two albums that Bushy released? (2)
7.4 In which school did he complete his primary education in 1981? (1)
7.5 When was Bushy born? (1)
7.6 Bushy collaborated with many artists, mention one? (1)
7.7 Do you regard Bushy Dubazana as an artist rooted in the Eastern Cape? Support
your statement. (3)
7.8 How old was Bushy when he left Umlazi? (1)
[15]

MUSIC TOTAL MARKS: [50]

22
GRADE 8 TERM 2: MUSIC MEMORUNDUM
QUESTION 1

1.1 B
1.2 A
1.3 C
1.4 D
1.5 A [1x5=5]

Question 2
Copy and complete the table below:
NAME SYMBOL DURATION REST
(in relation to a semibreve)
Quaver ½
2.1
2.2 2.3 2
Minim
Crotchet 1
2.4 2.5
(5x1) [5]
QUESTION 3
Write the following notes as semibreves.

[5x1=5]
QUESTION 4

I.

II. or

III.

IV.

V. (5x1) [5]

23
QUESTION 5

5.1 Trumpet, kazoo, flute, reed flutes, etc.(Any wind instruments) (1)
5.2 Air is blown through a wind instrument. (2)
5.3 Violin, mouth bow, harp, guitar, kora, lute, cello, double bass, banjo etc. (Any
string instrument) (1)
5.4 It is six crotchet beats. (1)

[5]
QUESTION 6

6.1 Key G or G major scale (1)

6.2 The top number (3) stands for the number of beats in a bar. The bottom
number (4) stands for the nature/ kind of note value. (4)
OR Three crochet beats in a bar.
17.3 mp, mf & f (3)
6.4. O.J. Mosinki (1)
6.5 Mmangwane (1)

[10]
QUESTION 7

7.1 Guitar – string

Piano – keyboard
Alto saxophone – brass (4)
Drums – Percussion. (Any two)
7.2 University of Transkei and University of Witwatersrand (Unitra and Wits) (2)
7.3 Pride Africa.
Nepotism
Eastern Cape experience.
Thank you
Miles to 50 (Any 2) (2)
7.4 Zimele J.S.S in Mthatha
7.5 30th April 1965
7.6 Stompie Mavi, Sipho Gumede, Mandla Masuku, Leon Tuta, Letlaka and Brian
(One artist) (1)
7.7 Yes (1)
He received his education in the Eastern Cape.
He came back to Eastern Cape for employment, after he graduated.
He composed music which is mostly greatly Phondo and Xhosa Melodies.
(Any point) (2)
7.8 He was 6 years old. (1)

[15]

MUSIC TOTAL MARKS: 50

24
GRADE 9 TERM 2: MUSIC QUESTIONS
QUESTION 1
Choose the correct word from the possible answers given in each question.
Write the letter name of the correct answer next to the number e.g 1.A

1.1 ___________ are words in music. (1)

A. Solos
B. Vocals
C. Lyrics
D. Composers

1.2 The highness or lowness of sound is referred to as ____________ (1)

A. Rhythm
B. Pitch
C. Tempo
D. Dynamics

1.3 D Major scale has got _______. (1)

A. No sharps or flats
B. 2 Sharps
C. 1 Flat
D. 1 Sharp

1.4 The African Horn is the example of _____________. (1)

A. Chordophones
B. Idiophones
C. Membranophones
D. Aerophones

1. 5 The symbol “p” in music stands for _____________. (1)

A. Very soft
B. Very loud
C. Soft
D. All of the above.

25
QUESTION 2
Match Column A with B. Write the correct letter next to the number.
COLUMN A COLUMN B
2.1 Reggae Music originated in A. Tempo
2.2 The treble clef is also known as B. Arthur Mafukate
2.3 Is also known as king of Kwaito C. Jamaica
2.4 The fastness/ slowness of sound D. Interval
2.5 The distance between two notes E. G Clef.
(5X1) [5]
QUESTION 3
Say whether the following statements are True or False Write only the Number and
correct answer e.g 3.1 False
3.1 The full orchestra is also Tuttic. (1)
3.2 F major scale has got 1 Flat. (1)
3.3 The flute is an example of the brass family. (1)
3.4 A triad is a chord and is made up of 3 notes. (1)
3.5 A dot increases a duration value of a note by the same value. (1)
[5]
QUESTION 4
Define the following terms?
4.1 Dynamics (1)
4.2 Tempo (1)
4.3 Articulation (1)
4.4 Resonance (1)
4.5 Duration (1)
[5]
QUESTION 5
5.1 Construct a G major scale on a bass clef stave without a key signature? (5)
5.2 Give the notes (note names letters of alphabet) which make up a tonic triad
of this scale? (2)
5.3 Which note is a leading note? (1)
5.4 Name the interval between note G and note C in the scale above (2)
[10]

26
QUESTION 6
Study the music extract below and answer all the questions that follow:

6.1 Name the key of the above tune? (2)

6.2 Give the letter name of the first note in this piece? (1)
6.3 What is the letter name and the value of the last note? (2)
6.4 Write the time signature of the music piece above? (2)
6.5 Name the distance of the interval between the second and the third note in the
second last bar? (2)
6.6 What is the mood of the above song? (1)
[10]

27
QUESTION 7
Read the extracts below and answer the questions that follow:
Kwaito Music style
Kwaito music style is South African musical style that developed
when black, urban youth of South Africa started to voice their
opinions. It is mixture of other types of music that the youth grew
up with such as South Africa disco, Hip Hop, Umbhaqanga
(traditional Zulu music accompanied by guitars), Reggae, and so
on. Kwaito music uses repetitive, short lyrical verses with rap
vocal techniques, poetry and chorus chants. The lyrics are
usually in a local African language with some English lines. A few
examples of popular Kwaito artists are: Arthur Mafukute,
Chommee, Kabelo (also known Pantsula for Life) and Mandoza.
7.1 Give two characteristics of kwaito music. (2)
7.2 Name two popular Kwaito artists mentioned above. (2)
7.3 Mentioned any two music genres that can be found in Kwaito music. (2)
7.4 How did kwaito develop? (2)
7.5 Do you like this style of music? Why? (2)
[10]
MUSIC TOTAL MARKS: [50]

MEMORUNDUM
QUESTION 1
1.1 C (1)
1.2 B (1)
1.3 B (1)
1.4 D (1)
1.5 C (1)

[5]
QUESTION 2
2.1 C (1)
2.2 E (1)
2.3 B (1)
2.4 A (1)
2.5 D (1)
[5]

28
QUESTION 3
3.1 True (1)
3.2 True (1)
3.3 False (1)
3.4 True (1)
3.5 False (1)

[5]

QUESTION 4.
4.1 Dynamics – loudness or softness of sound/ music. (1)
4.2 Tempo- Fastness / slowness of sound / music. (1)
4.3 Articulation – pronouncing the sound/ words clearly. (1)
4.4 Resonance- to make a sound big and deeper. (1)
4.5 Duration – how long can a sound be held or sustained
4.6 (length of sound). (1)

[5]

QUESTION 5
5.1

Bass Clef: 1 mark

Correct placement of sharps: 2 marks (1 mark each)
Correct placement of notes on a stave: 1 mark
Correct naming of notes: 1mark (5)
5.2 GBD (2)
5.3 F sharp (1)
5.4 Perfect fourth (4th) (2)
[10]

29
QUESTION 6
6.1 F major key. (2)
6.2 C (1)
6.3 The note is F & the value is a minim or half notes (2)
6.4 ¾ (2)
6.5 Major second (2)
6.6 Happy/ Joy/ Jovial mood etc. (1)
[10]
QUESTION 7
7.1 It is a mixture of other types of music that the youth grew up with.
It uses repetitive short lyrical verses with rap vocal techniques, poetry and chorus
chants.
The lyrics are usually in a local African language with some English lines.
(Any two responses) (2)
7.2 Arthur Mafukate, Chommee, Kabelo and Mandoza.
(Any two responses) (2)
7.3 South African Disco, Hip Hop, Umbhaqanga and Reggae.
(Any two responses) (2)
7.4 It developed when black, urban youth of South Africa started to voice
their opinions. (2)
7.5 (Open response) e.g Yes, because lyrics of kwaito are easy to
understand. (2)
[10]
MUSIC TOTAL MARKS [50]

30
Grade 7 Practical Assessment Term: 2

Grand Total: 100 Marks

Practical Task Part 1: 25 Marks
Practical Task Part 2: 25 Marks
Written Task Part 2: 50 Marks
Study the following choral piece of music, a folk song, Mmangwane, notated and
transcribed by O.J. Mosinki and then answer the questions that follow.

31
1. In which key is the piece of music? (Refer to the key signature.) (3)
2. What is the beat of this piece? (2)
3. What does the tempo indication (top left) mean? (3)
4. What are the three dynamic indications used and what does each one mean? (6)
5. How many bars does this piece have? (3)
6. What is the letter name of the highest note in the Soprano line? (3)
7. What is the letter name of the lowest note in the bass clef ? (3)
8. Which part introduces the song? (2)

[25]

Part 1 Possible Answers

1. C major (3)
2. Three Pulse Measure (2)
3. Lively Quick (3)
4. mp = Medium soft; mf = medium loud; f = loud (6)
5. 8 Bars (3)
6. F in bars 3 and 7 (3)
7. C in bars 2, 6 & 9 (3)
8. Tenor (2)
[25]

32
Practical Task: Part 2: Rehearse and Perform
1. In groups, learners learn and rehearse the song according to different parts.
2. Learners add accompaniment to the song using their own choice of instruments
and improvise.
3. The rating scale below shows exactly how they will be assessed.
Criteria Level 5 Level 4 Level 3 Level 2 Level 1 Marks

Intonation Perform in Well tune Mostly in Some what Lack of tonal 5

tune in all most of the tune but in tune. center.That
dynamics and time with incostistent. Problem Results in
ranges infrequent There are occur poor
throughout the pitch attempts to minimal intonation
performance problem. correct the attempts to
problems. correct
Tone Uniform and Tone Has some Fundamental Lack of 5
quality consistent and problems are harsheness understandin understandin
well controlled infrequents. and or g of tone but g of proper
throughout. distortion at the extremes tone quality.
extend of volume
ranges and register
volumes often out of
levels. control.
Rhythm Vertically Vertically Vertically Seldom Little or no 5
and tempo aligned and aligned and aligned and Vertically rhythm
tempo tempo tempo aligned and accuracy
accurate accurate in accurate tempo dysplays
throughout the most of the some of the inconsistenc throughout
performance. time. time. e the entire
performance
.

Style and Stylistically Stylistically Stylistically Little Stylistically 5

phrases accurate.Great accurate in accurate stylistically inaccurate.T
Western,A attention paid most of the some of the interpretation here are
frican, to the shaping time .Most of time.There of discernable
Indian and of phrases. the phrases is basic music.Minim phrases.
popular have a attempt to al attempt to
musical shape shape
shape phrases. phrases..
Dynamic Displays an Displays a Dynamics Attempts few Displays 5
appropriate range of variation is dynamic little or no
range of dynamics apparent but changes dynamics
dynamics throughout range of
throughout. most of dynamic is
performance limited
Grand Total 25

33
Grade 8
Grand Total: 100 Marks
Practical Task Part 1: 25 Marks
Practical Task Part 2: 25 Marks
Written Task Part 2: 50 Marks
Instruction:
Study the following choral piece of music, a folk song, Mmangwane, notated and
transcribed by O.J. Mosinki and then answer the questions that follow.

34
1. In which key is the piece? (Refer to the key signature.) (3)
2. What do the two numbers (top and bottom) in the time signature stand for? (2)
3. What does the tempo indication (top left) mean? (3)
4. What are the three dynamic indications used and what does each one mean? (6)
5. How many bars does this piece contain? (3)
6. What is the letter name of the highest note in the Soprano line? (3)
7. What is the letter name of the lowest note in the bass clef ? (3)
8. Which part introduces the song? (2)

Part 1 Possible Answers

1. G major (3)
2. The top number stands for the number of beats in a bar. The bottom number
stands for the nature/ kind of note values.
E.g. three crochet beats in a bar. (2)
3. Lively Quick (3)
4. mp = Medium soft; mf = medium loud; f = loud (6)
5. 8 Bars (3)
6. C in bars 3 and 7 (3)
7. G in bars 2, 6 & 9 (3)
8. Tenor (2)
[25]

Practical Task: Part 2: Performance: Marks: 25

1. In Groups Learners learn and rehearse the song according to different parts
2. Learners add accompaniment to the song using their own choice of instruments
and improvise.
3. The rating scale below shows exactly how you will be assessed.

Criteria Level 5 Level 4 Level 3 Level 2 Level 1 Marks

Intonation Perform in Well tune Mostly in tune Somwhat in Lack of tonal 5

tune in all most of the but tune center.That
dynamics time with incostistent. .Problem Results in
and ranges infrequent There are occur poor
throughout pitch attempts to minimal intonation
the problem. correct the attempts to
performance problems. correct
Tone Uniform and Tone Has some Fundamental Lack of 5
quality consistent problems harsheness understandin understanding
and well are and or g of tone but of proper tone
controlled infrequents distortion at the extremes quality.
throughout. . extend ranges of volume
volumes and register
levels. often out of
control.
Rhythm Vertically Vertically Vertically Seldom Little or no 5
and aligned and aligned and aligned and Vertically rhythm
tempo tempo tempo tempo aligned and accuracy
accurate accurate in accurate tempo dysplays
throughout most of the some of the inconsistence throughout
the time. time. the entire
performance. performance.

35
Style and Stylistically Stylistically Stylistically Little Stylistically 5
phrases accurate.Gre accurate in accurate stylistically inaccurate.Th
Western, at attention most of the some of the interpretation ere are
African, paid to the time .Most time.There is of discernable
Indian shaping of of the basic attempt music.Minim phrases.
and phrases. phrases to shape al attempt to
popular have a phrases. shape
musical phrases..
shape
Dynamic Displays an Displays a Dynamics Attempts few Displays little 5
appropriate range of variation is dynamic or no
range of dynamics apparent but changes dynamics
dynamics throughout range of
throughout. most of dynamic is
performanc limited
e
Grand Total 25

36
Grade 9
Grand Total: 100 Marks
Practical Task Part 1: 25 Marks
Practical Task Part 2: 25 Marks
Written Task Part 2: 50 Marks
Instruction:
Study the following choral piece of music, a folk song, Mmangwane, notated and
transcribed by O.J. Mosinki and then answer the questions that follow.

37
1. In which key is the piece? (Refer to the key signature.) (3)
2. What is the beat of this piece? (2)
3. What does the tempo indication (top left) mean? (3)
4. What are the three dynamic indications used and what does each one mean? (6)
5. How many bars does this piece have? (3)
6. What is the letter name of the highest note in the Soprano line (3)
7. What is the letter name of the lowest note in the bass clef (3)
8. What do the signs in bars 5 and 10 stand for? (2)
[25]

Part 1 Possible Answers

1. G major (3)
2. Three Pulse Measure (2)
3. Lively Quick (3)
4. mp = Medium soft; mf = medium loud; f = loud (6)
5. 8 Bars (3)
6. G in bars 3 and 7 (3)
7. D in bars 2, 6 & 9 (3)
8. Repeat signs (2)
[25]

Part 2: Rehearse and Perform

1. In Groups Learners learn and rehearse the song according to different parts
2. Learners add accompaniment to the song using their own choice of instruments
and improvise.
3. The rating scale below shows exactly how you will be assessed.

38
Criteria Level 5 Level 4 Level 3 Level 2 Level 1 Mark
s
Intonation Perform in Well tune Mostly in tune Somwhat in Lack of 5
tune in all most of the but tune .Problem tonal
dynamics time with incostistent.Th occur minimal center.That
and ranges infrequent ere are attempts to Results in
throughout pitch problem. attempts to correct poor
the correct the intonation
performance problems.
Tone Uniform and Tone Has some Fundamental Lack of 5
quality consistent problems are harsheness understanding understandi
and well infrequents. and or of tone but ng of proper
controlled distortion at the extremes tone quality.
throughout. extend ranges of volume and
volumes register often
levels. out of control.
Rhythm Vertically Vertically Vertically Seldom Little or no 5
and tempo aligned and aligned and aligned and Vertically rhythm
tempo tempo tempo aligned and accuracy
accurate accurate in accurate some tempo dysplays
throughout most of the of the time. inconsistence throughout
the time. the entire
performance performanc
. e.
Style and Stylistically Stylistically Stylistically Little Stylistically 5
phrases accurate.Gr accurate in accurate some stylistically inaccurate.
Western, eat attention most of the of the interpretation There are
African, paid to the time .Most of time.There is of discernable
Indian and shaping of the phrases basic attempt music.Minimal phrases.
popular phrases. have a to shape attempt to
musical phrases. shape
shape phrases..
Dynamic Displays an Displays a Dynamics Attempts few Displays 5
appropriate range of variation is dynamic little or no
range of dynamics apparent but changes dynamics
dynamics throughout range of
throughout. most of dynamic is
performance limited

Grand Total 25

39
Grade 9 Exemplar Informal Assessment on Intervals
(Can be adapted to Formal Assessment)
Interval Worksheet 1

40
Interval Worksheet 2

41
Interval Worksheet 1 Answers

42
Interval Worksheet 2 Answers

43
GRADE 9 TERM 4 WRITTEN FORMAL ASSESSMENT: MUSIC

TOPIC 1: MUSIC LITERACY

Question 1
Study the following excerpt from the South African National Anthem and answer the
questions that follow.

1.1 What is the name of South African National Anthem? (1)

1.2 In which key is the South African National Anthem? (1)
1.3 Name any THREE (3) languages used in the South African National Anthem. (3)
1.4 Write the G Major scale in ascending order in the bass clef on manuscript paper.
Do not write the key signature, necessary accidentals should be added where
appropriate. Indicate the semitones.
(7)
1.5 Now write the following triads in closed position in the same key on the manuscript
paper. Tonic –I, Sub-dominant – IV and Dominant – V. (3)
[15]
QUESTION 2
Complete the following table by inserting the correct answers in the open spaces.
Draw the table on your answer sheet and fill in the missing words.

MUSIC ELEMENT ITALIAN TERM ABBREVIATION MEANING

Dynamics piano 2.1 2.2

2.3 F 2.4

2.5 2.6 gradually louder

Tempo Allegro 2.7 2.8

2.9 2.10 slow

Articulation 2.11 leg 2.12

2.13 2.14 detached, short

44
QUESTION 3
Indicate whether the following statements are TRUE or FALSE.
3.1 A triad consists of FIVE (5) notes. (1)
3.2 An interval is the space/distance between two notes. (1)
3.3 A musical consists of dance, décor, solo and group singing, costumes and
drama. (1)
3.4 The high voices in a choir are the sopranos. (1)
3.5 F major has two flats. (1)
[5]
TOPIC 2: MUSIC LISTENING

QUESTION 4:
4.1 Name the four instrument families found in the symphony orchestra. (4)
4.2 Choose any two groups and name two instruments found in these groups. (6 x ½ =
3)
[7]

QUESTION 5
You have listened to the music by one of the South African Musicians.
Read the article below and answer questions that follow.
Siphokazi Maraqana
Background: Siphokazi Maraqana, Afro-Soul Music
artist, was born in Lusikisiki in the Eastern Cape of
South Africa where she attended primary school at
Kwa-Zizamele and then proceeded to Toli Senior
Secondary School. She then came to Johannesburg In
1999 and enrolled at Sibikwa Community Art Centre.
In 2000, she received a bursary from The National Arts
Council, enabling her to enrol at Central Johannesburg
College, where she completed her diploma in Music
technology. This ignited the music inside her that she
later became every household name.
Siphokazi took the South African music industry by storm with the 2006 release of
her debut album "Ubuntu Bam", which was awarded with a 2007 SAMA award for
Best African Adult Contemporary Album. Siphokazi is however no stranger to the
stage. Siphokazi has been the primary selling and performing artist in the South
African music scene and has shared the stage with leading local and international
artists including, Chaka Khan, Oletta Adams, Indie Arie, Gladys Nights, Tania
Maria, Puff Johnson, Kirk Franklin, Hugh Masekela, Busi Mhlongo, Caiphus &
Letta Mbulu, Stimela, Judith Sephuma, Gloria Bosman, Busi Mhlongo, Sibongile
Khumalo, Jonas Gwangwa, Simphiwe Dana, Lira, Zamajobe, Angelique Kidjo, just
to mention some. That album from this Afro-soul songbird was an indication to
someone who has come a long way, factually and figuratively, to claim her rightful
place amongst the world’s best songstresses.

45
Her first few albums – include 2006’s Ubuntu Bam, and 2008’s Ndinovuyo -
Siphokazi’s 2010 album ‘Ethembeni’ are deeply rooted in Afro-Trad musical
stylings. Some of this stems from Siphokazi’s deep-seated spirituality. As she
herself puts it, “I give the glory to the Lord of
my life, God – and I thank Him for His
awesome sustaining power and the strength
He gives me to press forward.”)
Two minutes with Siphokazi Maraqana
Sama award winning singer Siphokazi
Maraqana spoke to DRUM on music, married
life and being a mother.
What are you currently up to?
I am busy recording my 4th studio album. I
just released a single off that album called
Love Too Deep.

There were media reports not so long ago saying you have moved from
Joburg …
Really? I haven’t moved from Joburg. I am still here. Since 1999 when I came
here I haven’t gone back to stay home in the Eastern Cape. I visit home yes but
not stay there.

How is married life going, having been married for 3 years so far?
It is a school but a good school. I would like to see more of what God has in
store for me in this school of marriage. We have our challenges and ups and
downs like every couple but we invite God in such situations and we trust
God to keep us together.

What things surprised you about being married? Things you didn’t
expect getting in?
I knew we would have kids but when they came I was surprised at how my
life changed. One minute I was Siphokazi alone with my husband and now I
had to adjust to being a mother. That came with a lot of compromise and
sacrifice that I wasn’t ready for initially.

Another thing is getting to know my husband. Literally every day I learn new
things about him since we got married. I still get surprised at some of the
things I find out about him and it makes me realise that it takes lifetime to
know someone.

46
What did you do right to still be in the music industry for this long?
I have always been myself. That is what has helped
me. I have had challenges with people saying I am
too rural…

Do you think you are rural?

Yes I am rural and I love it. People wanted me to
change but I never did. I even had a time when
people scolded me for reading ‘thank you’s’ from a
paper when I was receiving an award. I felt that was silly because I have
seen many big stars overseas do it.
What do you want your legacy to be …
I want to leave a legacy of love through my music. Love in all its forms from
the love of God, friendship love to romantic love. I believe in love and I don’t
take it for granted. We as people should love each other more.

(Adapted from http://drum.co.za/celebs/two-minutes-with-siphokazi-

maraqana/and http://www.entertainment-online.co.za/siphokazi.htm)

5.1 Give the name of the album released by Siphokazi in 2006. (1)
5.2 What is a solo artist? (1)
5.3 Name TWO best awards won by Siphokazi in the 8th metro awards. (2)
5.4 Give TWO artists that influenced Siphokazi in her music. (2)
5.5 What music genre sung by Siphokazi? (1)
5.6 Other than Ubuntu bam, Name other 3 Siphokazi’s music albums. (3)
[10]

47
TOPIC 3: PERFORMING AND CREATING MUSIC
QUESTION 6

Compose a rhythm on one note, with time signature and bar lines, to fit these words.
Write each syllable under the note or notes to which it applies.

She’s like the swallow that flies so high,

She’s like the river runs dry.
Traditional

Rhythm______________________________________________________________

Words_______________________________________________________________

Rhythm______________________________________________________________

Words_______________________________________________________________

[10]
TOTAL /50/

48
GRADE 9: MUSIC Memo

QUESTION1
1.1 Nkosi Sikelel’ iAfrika (1)
1.2 G major (1)

1.3 Any three: Xhosa, Sotho, English, Afrikaans

(3)
1.4 Ascending, bass clef, correct notes, without key signature, (7)
semitones

(3)
1.5 [15]

I = GBD, IV = CEG, V = DF#A

QUESTION 2
MUSIC ELEMENT ITALIAN TERM ABBREVIATION MEANING

Dynamics piano 2.1 P 2.2 Soft

2.3 Forte F 2.4 Loud

2.5 Crescendo 2.6 Cresc gradually louder

Tempo Allegro 2.7 Allegro 2.8 Fast

2.9 Largo 2.10 slow

Articulation 2.11 Legato leg 2.12 Smoothly

2.13 Staccato 2.14 Staccato detached, short

QUESTION 3
3.1 False (1)
3.2 True (1)
3.3 True (1)
3.4 True (1)
3.5 False (1)
[5]

49
QUESTION 4
4.1 Strings, woodwind, brass, percussion instruments (4)
4.2 Strings – violin, viola, cello and double bass (6x½=3)
Woodwinds – flute, piccolo, clarinet, saxophone, oboe, fagotte [7]
Brass – trumpet, trombone, French horn, tuba
Percussion – triangle, timpani, marimbas, symbols

QUESTION 5
5.1 Ubuntu bam (1)
5.2 It is an artist which sings alone; an artist who forms his or her own
band. (1)
5.3 Best new comer; Best produced album; Female vocalist (2)
5.4 Any two: Simphiwe Dana, Ringo Madlingozi, Zama Jobe, Tshepo
Tshola (2)
5.5 Afro Soul style (1)
5.6 Ukufa, Ubuntu bam, Ndiyabulela, Ikhaya Lam (3)

QUESTION 6
6.1
Either

OR

50
 Marking Guide

Time Signature
Words and rhythms falling naturally in line with syllables
Basic rhythmic patterns – a mix of long and short notes (2)
enhancing text/ lyrics, (2)
Balanced phasing.
Additions like tempo indication, dynamics and articulation etc. (2)
(2)
(2)

[10]
TOTAL [50]

51
CREATIVE ARTS FORMAL PRACTICAL ASSESSMENT

MUSIC PERFORMANCE GRADE 7 TERM 4

FORMAL PRACTICAL ASSESSMENT: Marks 50
GROUP OR SOLO PERFORMANCE

INSTRUCTIONS
Rehearse and Perform
You will be given one week to complete this task. In groups of not more than ten,
brainstorm and decide on the repertoire that includes: the National Anthem of South
African, folksongs (indigenous songs, cultural songs) and popular music. Give the title
of your song and composer. Add body percussion, found or self-made traditional
instruments, Orff instruments Use intonation and dynamics, tone quality, rhythm and
tempo, style and phrases. Rehearse and perform the song in class/ hall/ during
school assembly.

Criteria 11-13 8-10 5-7 3-4 0-2

Intonatio Perform in Well tune Mostly in tune Somewhat in Lack of tonal
n and tune in all most of the but tune .Problem center.That
dynamics dynamics and time with incostistent.Ther occur minimal Results in poor
(13) ranges infrequent e are attempts to attempts to intonation
throughout the pitch correct the correct
performance problem. problems.
Tone Uniform and Tone Has some Fundamental Lack of
quality consistent and problems harsheness and understandin understanding
(12) well controlled are or distortion at g of tone but of proper tone
throughout. infrequents extend ranges the extremes quality.
. volumes levels. of volume
and register
often out of
control.
Rhythm Vertically Vertically Vertically aligned Seldom Little or no
and aligned and aligned and tempo Vertically rhythm accuracy
tempo tempo and tempo accurate some of aligned and dysplays
(13) accurate accurate in the time. tempo throughout the
throughout the most of the inconsistence entire
performance. time. performance.
Style and Stylistically Stylistically Stylistically Little Stylistically
phrases accurate.Grea accurate in accurate some of stylistically inaccurate.Ther
Western, t attention most of the the time.There is interpretation e are
African, paid to the time .Most basic attempt to of discernable
Indian shaping of of the shape phrases. music.Minima phrases.
and phrases. phrases l attempt to
popular have a shape
(12) musical phrases..
shape

52
GRADE 8 FORMAL PRACTICAL ASSESSMENT TERM 4
MUSIC PERFORMANCE
FORMAL PRACTICAL ASSESSMENT: Marks 50
GROUP OR SOLO PERFORMANCE

INSTRUCTIONS

Rehearse and Perform

You will be given one week to complete this task. In group or solo, brainstorm and
decide on the standard repertoire of Western, African, Indian, popular musical styles:
choral works, group instrumental works, solo vocal works, and solo instrumental
works. Give the title of your song and composer. Use intonation and dynamics, tone
quality, rhythm and tempo, style and phrases (Western, African, Indian, popular)
Rehearse and perform the song in class/ hall/ during school assembly.

Criteria 11-13 8-10 5-7 3-4 0-2

Intonation and Perform in Well tune Mostly in tune Somwhat in Lack of tonal
dynamics (13) tune in all most of but tune center.That
dynamics the time incostistent.The .Problem Results in poor
and ranges with re are attempts occur intonation
throughout infrequent to correct the minimal
the pitch problems. attempts to
performance problem. correct
Tone quality Uniform and Tone Has some Fundamenta Lack of
(12) consistent problems harsheness and l understanding
and well are or distortion at understandin of proper tone
controlled infrequent extend ranges g of tone quality.
throughout. s. volumes levels. but the
extremes of
volume and
register
often out of
control.
Rhythm and Vertically Vertically Vertically Seldom Little or no
tempo (13) aligned and aligned aligned and Vertically rhythm
tempo and tempo tempo accurate aligned and accuracy
accurate accurate some of the tempo dysplays
throughout in most of time. inconsistenc throughout the
the the time. e entire
performance. performance.

Style and Stylistically Stylisticall Stylistically Little Stylistically

phrases accurate.Gre y accurate accurate some stylistically inaccurate.The
Western,Africa at attention in most of of the interpretatio re are
n, paid to the the time time.There is n of discernable
Indian and shaping of .Most of basic attempt to music.Minim phrases.
popular (12) phrases. the shape phrases. al attempt to
phrases shape
have a phrases.
musical
shape

53
GRADE 9 FORMAL ASSESSMENT TASK TERM 4
TIME: 2 HOURS
MARKS: 50
INSTRUCTIONS:
1. Answer all the questions
2. Number your answers correctly
3. Start each question on a new page

QUESTION 1
Choose the correct answer from the given alternatives:
1.1.Who contributes in the arrangement of National Anthem of South African
(Enoch,Sontonga and M L Devilliers, Mohapelo, Sibongile Khumalo,Khabi Ngoma)
1.2 Intervals of D Major Scale (D F#, 3/8)
1.3 Triads of C Major scale (C E G, A C E, G B D, F D C)
1.4 Time signature (2/4, D# and C#, Bb)
1.5. Duple (two beats, three beats, four beats, six beats)
5 x 2 = 10

QUESTION 2
Write true and false in the following statements
2.1 Triple consists of three notes.
2.2 Time signatures indicate number of beats in a bar.
2.3. Dynamic indicates how loud or quiets the music is.
2.4 C Major scale has flat and sharp.
2.5. The triads of F Major Scale are F# A# C#.
5x 2 = 10

QUESTION 3
Define the following musical terms
3.1. Interval
3.2. Triads
3.3. Ledger lines
3.4. Tonic Sol-fa
3.5.Letter names
5 x 2 = 10

54
QUESTION 4
Match the musical terms in Column a within Column B
A B
4.1.Tempo F# and C#
4.2.Minim Presto
4.3.Bass Clef Two beats
4.4.D Major F Clef
5.5 Dynamic Forte and Piano

5 x 2 =10
QUESTION 5
Construct the D major scale in treble clef. (10)
Total [50]

55
MEMORANDUM
QUESTION 1
1.1.Enoch Sontonga and ML De Villiers
1.2. C D
1.3.C E G
1.4.2/4
1.5.Two
5 x 2 = 10

QUESTION 2
2.1.T
2.2.T
2.3.T
2.4.F
2.5.F
5 x 2 = 10

QUESTION 3
3.1. Interval is the distance between two pitches.
3.2. Triads are the set of three notes
3.3. Ledger lines indicate note above or below the lines and spaces
3.4. Tonic – sol-fa is the musical notation that usually uses: doh, ray, me, fah, soh,
lah,
te
3.5. Letter names- represents a set of pitches for example notes of a scale.
5 x 2 = 10

56
QUESTION 4
4.1. Presto
4.2. Four beats
4.3. Two crotchets
4.4 F Clef
4.5. Forte and Piano
5 x 2 = 10

QUESTION 5

[10]

TOTAL MARKS [50]

57
GRADE 9 FORMAL PRACTICAL ASSESSMENT TERM 4
MUSIC PERFORMANCE: Marks 50

GROUP OR SOLO PERFORMANCE

INSTRUCTIONS

Rehearse and Perform

You will be given one week to complete this task. In groups of not more than ten,
brainstorm and decide on the standard repertoire of Western, African, Indian, popular
styles. Give the title of your song and composer. Use intonation and dynamics, tone
quality, rhythm and tempo, style and phrases (Western, African, Indian, popular)
Rehearse and perform the song in class/ hall/ during school assembly.

Criteria 11-13 8-10 5-7 3-4 0-2

Intonation and Perform in Well tune Mostly in Somwhat in Lack of tonal
dynamics tune in all most of the tune but tune .Problem center.That
(13) dynamics and time with incostistent. occur minimal Results in poor
ranges infrequent There are attempts to intonation
throughout the pitch attempts to correct
performance problem. correct the
problems.
Tone quality Uniform and Tone Has some Fundamental Lack of
(12) consistent and problems harsheness understanding understanding of
well controlled are and or of tone but proper tone
throughout. infrequents. distortion at the extremes quality.
extend of volume and
ranges register often
volumes out of control.
levels.
Rhythm and Vertically Vertically Vertically Seldom Little or no
tempo (13) aligned and aligned and aligned and Vertically rhythm accuracy
tempo tempo tempo aligned and dysplays
accurate accurate in accurate tempo throughout the
throughout the most of the some of the inconsistence entire
performance. time. time. performance.
Style and Stylistically Stylistically Stylistically Little Stylistically
phrases accurate.Great accurate in accurate stylistically inaccurate.There
Western,African, attention paid most of the some of the interpretation are discernable
Indian and to the shaping time .Most time.There of phrases.
popular (12) of phrases. of the is basic music.Minimal
phrases attempt to attempt to
have a shape shape
musical phrases. phrases..
shape
TOTAL [50]

58
RESOURCE PACK
MUSIC CLASSROOM ACTIVITIES
Background: The study of music in Creative Arts aims to develop the ability to
perform a variety of vocal and instrumental music in a group and solo context. In
addition, learners are exposed to the written and aural language of music through
reading and writing music. Furthermore, the subject aims to develop the ability to
create new music through improvising and composing, using both conventional and
non-conventional compositional techniques. The content also enables learners to
become informed listeners of music by actively listening to a variety of music ranging
from Western, indigenous and popular music. If learners choose to study Music in the
FET band, special effort should be made for them to develop the ability to perform
instrumentally or vocally at an elementary level and have a good sense of rhythm and
pitch. They should also be able to read staff notation at the end of Grade 9.
The following activities have been developed with the aim of providing guidance
towards classroom practice. Although the activities have been developed according to
the teaching plan, per term per grade, teachers are encouraged to exercise their
professional judgement and innovation in dealing with the activities. In other words
teachers are encouraged to be flexible in their approach. The depth and breath of the
content may vary from context to context.

59
MUSIC WORKSHEET 1
Senior Phase: Music Term: 1 Grade: 7-9
Topic 1: Time: 4 hours Resources:
Music literacy Piano/ Keyboard/
Melodica
Music manuscript
Pencil Eraser
Content/ Concepts/ Skills: Pitch: Treble Clef
Time: 30 minutes
BACKGROUND:
Pitch: Is a note itself, a sound produced either through singing or playing an
instrument. It can be higher or lower. The pitch of a sound is based on the frequency
of vibration and the size of the vibrating object. The slower the vibration and the bigger
the vibrating object, the lower the pitch; the faster the vibration and the smaller the
vibrating object, the higher the pitch. For example, the pitch of a double bass is lower
than that of the violin because the double bass has longer strings. Pitch may be
definite (i.e. piano) or indefinite (i.e. cymbals).

Playing two different notes or pitches will give different sounds. One note will be
higher or lower than the other. Pitches or notes on an instrument are represented by
seven alphabets: A, B, C, D, E, F, G. These notes or pitches can be repeated as many
times as possible, in different ranges, from bottom to the top or vice versa.

On the piano for instance they are as follows:

Music Notation: music notation is any system that represents aurally perceived music
through the use of written symbols. There are different types of music notation
systems that are used throughout the world. Examples include staff notation Graphic
notation (sound pictures) and tonic sol-fa. This is an example of a graphic score:

60
Example of tonic sol-fa notation is doh, ray, meh, fah, soh, lah, te, doh.
Staff notation: is one of the music notation systems that has been marketed and
therefore used by musicians of many different genres throughout the world. The
system uses five lines called staff and sometimes referred to as stave. Pitch is shown
by placement of notes on the staff.

The Great Stave or Staff: it is an eleven line stave in which the Treble Stave is joined
to the Bass Stave with the middle C in between. These lines are used for writing and
reading music. Lines and spaces represent notes in alphabetical order, ascending or
descending. Note the different Letter Names on the Treble and Bass Clefs.

Bar lines
Bar lines are lines drawn across the stave. Bar lines divide stave into segments of
equal units of time.
Double bar lines are two vertical lines usually drawn across at the end of the piece
or, at the end of a section.

Clef:
A clef is a symbol placed at the beginning of a stave. It indicates the position of one
particular note on the stave. There are several different clefs. Examples include Treble
or G Clef, Alto Clef, Tenor Clef and Bass or G- Clef. Treble or G Clef and Bass or G-
Clef are the most commonly used clefs.

1. Treble Clef: the treble clef was originally a letter G and it identifies the second line
up on the five line staff as the note G above middle C.

61
Example of a treble clef:

Activity 1.1: Practice drawing the treble clef sign by tracing over the guidelines. Draw
more in the remaining space and the following staves.

a)

2. Letter Names of notes on the Treble Clef

To remember the names of notes in the lines of the Treble Clef the following sentence
can be memorized: Every Good Boy Does Fine or any other formulation that assist in
remembering the sequence of the letter names.

To remember the names of notes in the spaces of the treble clef the following word
can be memorized: F A C E or any other formulation that assist in remembering the
sequence of the letter names. Combined Letter Names on lines and spaces:

62
Activity 2.1: Fill in the following letter names below the notes

a)

b)

Activity 2.2: Write each note's name underneath. Each measure's notes spell a word.

a)

b)

Activity 2.3: Draw a Treble Clef at the beginning of the staff and write the letter name
of each note.

a)

b)

3. Bass Clef: the Bass Clef or F clef shows the position of the note F below middle C.
Example of a Bass Clef:

Activity 3.1: Practice drawing the bass clef sign by tracing over the guidelines. Draw
more in the remaining space and the following stave

63
4. Letter names of notes on the Bass Clef

To remember the names of notes on the lines of the Bass Clef the following sentence
can be memorized: Good Boys Do Fine Always or Good Boys Do Fly Airplanes or
any other formulation that can assist in remembering the sequence of the letter
names.

To remember the names of notes in the lines of the treble clef the following sentence
can be memorized:
All Cows Eat Grass or any other formulation that can assist in remembering the
sequence of the letter names.

Activity 4.1.: Write each note's name underneath.

a)

b)
Activity 4.2.: Draw a bass clef at the beginning of the staff and write the letter name
of each note.

a)

b)

64
 5. THE KEYBOARD
The Keyboard has two kinds of Keys – White and Black. The White keys are
represented by the lines and spaces on the staff, and are therefore made up of the
first seven letters of the Alphabet – ABCDEFG which are repeated to represent the
same letters at higher or lower levels.
The Black Keys which are raised take their names from the white keys and are
grouped in sets of twos and threes.
There are no Black Keys between B and C, and between E and F.
Take a look at the following Keyboards:

G#/Ab C#/Db G#/Ab C#/Db G#/Ab C#/Db

G#/Ab
F#/Gb A#/Bb D#/Eb F#/Gb A#/Bb D#/Eb F#/Gb A#/Bb D#/Eb

F G A B C D E F G A B C D E F G A B C D E F G A B

The easiest way to identify the Letter Names of any Keyboard is by looking for the
position of “F” which is the white key at the left side of the three Black Keys. After
locating the position of “F”, move forward or backward to get the other white keys,
bearing in mind the letters of the Alphabet – ABCDEFG.
Exercise
Write the Letter Names of the marked keys:

The following keyboard illustrates notes on the staves of both Bass and Treble Clefs.
Notice where Middle C is located in the Keyboard and the Grand Stave.

65
C D E F G A B C D E F G C D E F G A B C D E F G

C D E F G A B C D E F G A B C D E F G A B C D E F G A B C D E

Middle C

Look, e.g. at the Cs: each time they appear above, it is an OCTAVE apart: they are 8 notes
apart, counting both the 1st and 2nd notes.

The moment you join the treble and bass clefs to write music for four voices, the two clefs are
joined by a bracket { } (called a brace) to indicate that you are using them consecutively (like
in a choir for 4 voices).

66
MUSIC WORKSHEET 2
Senior Phase: Music Term: 1 Grade: 7-9
Topic 1: Time: 4 hours (15 Resources:
Minutes per period)
Music literacy Piano/ Keyboard/
Melodica
Music manuscript
Pencil Eraser
Content/ Concepts/ Skills: Construction of Major Scales
Background: Scales/ Tonality
A scale is defined as a succession of notes, normally, either a whole tone/ whole step
or semi tone/ half step. A scale is like a staircase or a ladder. As you climb up the
pitch gets higher and as you go down the pitch gets lower. There is a variety of scales
that are used in Music. They are:
Modes/ Modal Scales – Used before major/minor scales were invented. They are
used to play folk songs such as Scarborough Fair and Drunken Sailor.
Major Scales – Mainly used in happy, joyful and celebratory music.
Minor Scales – Mainly used in sad, solemn, unhappy pieces.
Chromatic Scales– Means colour and uses all twelve semitones within an octave.
Used in Serialism.
Pentatonic Scales – A 5 note scale. Used a lot in Scottish and Chinese/Japanese
Music.
Whole-tone Scales– Made up of only tones (no semitones). Popular in late 19th
Century and early 20th Century by impressionist composers.
This section will focus on commonly used scales such as Major, Minors and Chromatic
Scales.
1. Major Scales
The pattern of all the Major Scales is made up of small and big steps. A major scale is
designed as follows: Keynote-Big Step-Big Step-Small Step-Big Step-Big Step-Big
Step-Small Step-Key Note (sometimes referred to as Whole Tone, Whole Tone, Semi-
Tone, Whole Tone, Whole Tone, Semitone or Tone, Tone, Semi-tone, Tone, Tone,
Tone, Semi-tone).

67
2. The C Major Scale
In the C major scale the notes are C, D, E, F, G, A, B, C. The small steps are between
E and F and between B & C. Have a look at the diagram of the keyboard; you will
notice that there is a small step between E&F and between B&C. C major is known as
a natural scale because it has no sharps or flats
Example of C Major Scale:

Doh Ray Me Fah Soh Lah Te Doh, are Tonic Solfa names. C D E F G A B C are the
letter names used to name notes used in the Staff notation. These eight notes are
called a Major Scale.
Activity 2.1 Write letter names under each note that constitute a C Major Scale. Add
accidentals where necessary.

Activity 2.2 Construct C Major scale in descending order using the given rhythm.

3. G Major Scale
Constructing G Major Scale is similar to the C Major Scale in terms the principle of
Keynote-Big Step-Big Step-Small Step-Big Step-Big Step-Big Step-Small Step-Key
Note (sometimes referred to as Whole Tone, Whole Tone, Semi- Tone, Whole Tone,

68
Whole Tone, Semitone or Tone, Tone, Semi-tone, Tone, Tone, Tone, Semi-tone
(TTStTTTSt).
In the G Major scale the notes are G, A, B, C, D E, F#, G. (notice that F natural had to
be raised/ sharpened, using this # symbol, to get a small step/ semitone between the
7th and 8th notes, leading to F# / F sharp)
The small steps are between B and C and between F# & G.
Have a look at the diagram of the keyboard and you will notice that there is a small
step between B & C and between F# & G.

Activity 3.1 Write letter names under each note that constitute a G Major Scale. Add
accidentals where necessary.

Activity 3.2 Construct G Major scale in ascending order using the given rhythm. Add
accidentals where necessary.

4. D Major Scale
Constructing D Major Scale is similar to the C and G Major Scales in terms the
principle of Keynote-Big Step-Big Step-Small Step-Big Step-Big Step-Big Step-Small
Step-Key Note (This sometimes referred to as Whole Tone, Whole Tone, Semi- Tone,
Whole Tone, Whole Tone, Semitone or Tone, Tone, Semi-tone, Tone, Tone, Tone,
Semi-tone).

69
In the D Major scale the notes are D, E, F#, G, A, B, C#, D. (notice that C and F
natural had to be raised/ sharpened, using this # symbol, to get a small step/ semitone
between the 7th and 8th notes, leading to F# / F sharp). The small steps are between
F# and G and between C# & D.
Have a look at the diagram and you will notice that there is a small step between F#
and G and between C# & D.

Activity 4.1 Write letter names under each note that constitute a D Major Scale.

Activity 4.2 Construct D Major Scale in ascending and descending order using the
given rhythm. Add accidentals where necessary.

5. A Major Scale
Constructing A Major Scale is similar to the C, G, D and Major Scales in terms the
principle of Keynote-Big Step-Big Step-Small Step-Big Step-Big Step-Big Step-Small
Step-Key Note. (This sometimes referred to as Whole Tone, Whole Tone, Semi- Tone,
Whole Tone, Whole Tone, Semitone or Tone, Tone, Semi-tone, Tone, Tone, Tone,
Semi-tone). In the A Major scale the notes are A, B, C#, D, E, F#, G#, A . (notice that C
and F natural had to be raised/ sharpened, using this # symbol, to get a small step/
semitone between the 7th and 8th notes, leading to F# / F sharp) The small steps are
between C# and D and between G# and A.
Have a look at the diagram; you will notice that there is a small step between C# &
between G# & A.

70
Activity 5.1 Write letter names under each note that constitute A Major Scale.

Activity 5.2 Construct an A Major Scale in descending order using the given rhythm.
Add accidentals where necessary.

6. F Major Scale
Constructing F Major Scale is similar to the C, G, D, and A Major Scales in terms the
principle of Keynote-Big Step-Big Step-Small Step-Big Step-Big Step-Big Step-Small
Step-Key Note. (This sometimes referred to as Whole Tone, Whole Tone, Semi- Tone,
Whole Tone, Whole Tone, Semitone or Tone, Tone, Semi-tone, Tone, Tone, Tone,
Semi-tone).

In the F Major scale the notes are F, G, A, B , C, D, E, F. (notice that B natural had to
be flattened using this symbol to get a small step/ semitone between the 3rd and 4th
notes, leading to B / B flat) The small steps are between A and B and between E
and F.
Have a look at the diagram of the keyboard; you will notice that there is a small step
between A &B and between E& F.

Activity 6.1 Write letter names under each note that constitute F Major Scale.

71
Activity 6.2 Construct F Major Scale in ascending order using the given rhythm. Add
accidentals where necessary.

7. B / B flat Major Scale

Constructing B / B flat Major Scale is similar to the C, G, D, A and F Major Scales in

terms the principle of Keynote-Big Step-Big Step-Small Step-Big Step-Big Step-Big
Step-Small Step-Key Note. (This sometimes referred to as Whole Tone, Whole Tone,
Semi- Tone, Whole Tone, Whole Tone, Semitone or Tone, Tone, Semi-tone, Tone,
Tone, Tone, Semi-tone).

In the B / B flat Major Scale the notes are B , C, D, E , F, G, A, B , (notice that E

natural had to be flattened using this symbol to get a small step/ semitone between
the 3rd and 4th notes, leading to E / E flat) The small steps are between D and E
and between A and B .
Have a look at the diagram and you will notice that there is a small step between D
and E and between A and B .

Activity 7.1 Write letter names under each note that constitute B Major Scale.

Activity 7.2 Construct B Major Scale in ascending order using the given rhythm.
Add accidentals where necessary.

72
8. E / Eflat Major Scale

The same of principle constructing a Major Scale also applies in E / Eflat Major
Scale. In the E / E flat Major Scale the notes are E , F, G, A , B , C, D, E ,
(notice that A natural had to be flattened using this symbol to get a small step/
semitone between the 3rd and 4th notes, leading to A / E flat) The small steps are
between G and A and between D and E .
Have a look at the diagram and you will notice that there is a small step between G
and A and between D and E .

Activity 8.1 Write letter names under each note that constitute E Major Scale.

Activity 8.2 Construct E Major Scale in descending order using the given rhythm.
Add accidentals where necessary.

73
9. KEY SIGNATURES
A key signature is a group of sharps or flats written immediately after the clef at the
beginning of a staff to show the key in which the music is written. A sharp or a flat in a
key signature affects all notes of the same letter name, all over the staff, unlike an
accidental which affects one line or space.
C Major Scale is the only scale that has no key signature.

The G Major Scale with Key Signature is written as follows:

The D Major Scale with Key Signature

The F Major Scale with Key Signature

Following is a summary of all Key Signatures:

M m + 5 = Sharp scales M m + 4 = Flat scales

G major e F# F major d Bb
D major b F# C# Bb major g Bb E b
A major f# F# C# G# Eb major c Bb E b Ab
E major c# F# C# G# D# Ab major f B b E b A b Db
B major g# F# C# G# D# A# Db major bb Bb Eb Ab Db Gb
F# major d# F# C# G# D# A# E# Gb major eb Bb Eb Ab Db Gb Cb
C# major # F# C# G# D# A# E# B# Cb major b Bb Eb Ab Db Gb Cb Fb

74
MUSIC WORKSHEET 3
Senior Phase: Music Term: 1 Grade: 7
Topic 1: Time: 30 minutes Resources:
Music literacy Music manuscript
Pencil Eraser
Content/ Concepts/ Skills: Duration: Note Values
Methodology:
Group and Individual Activity:
1: Introduction of Note Values, French Names and Tonic Sol-fa
Note Values refer to the duration of a note, short (e.g. semiquaver) or long (e.g.
Semibreve). The combinations of these note values create phrases and are grouped
according to the beat and time signature.
Study carefully the table below:
Table 1: A combination of note values
Name of Note Values in French Tonic Sol-fa Corresponding
Note Value Symbol relation to Time names
semibreveve Names
Semibreve 1 Taa-aa-aa- d:-|-:-| Whole note
aa
Minim 2 Taa-aa d:-| : | Half note

Crotchet 4 Taa d: | : | Quarter note

Quaver 8 Ta -te d.d : | : | Eighth note

Semi-quaver 16 Ta-fa te-fe d,d,d,d : | : Sixteenth note

|

Note the following:

Semibreve : played once but it takes four counts of beats (crotchet beats)
Minim : Played once but it takes two counts of beats (crotchet beats)
Crotchet : Takes one full count or beat. Four crtchets make one semibreve
Quaver : Takes half the value of a crotchet beat. Two quavers make one crotchet .
eight quavers make on semi-breve
Semiquaver: Half of a quaver note. Two semiquavers make one quaver. Sixteen
semiquaver make one semibreve
Refer to the following table

75
Table 2
Semibreve
Minim

Crotchet
Quaver

Semi-quaver

2. French Names and their rests

Rests
Rests refer to periods of silence in music. A rest has the same duration as a particular
note. A crotchet rest is of the same duration as crotchet note; quaver rest is of the
same duration quaver noted.
Table 3
Name Notes and their French Time Rest and their Value in
Names French Time relation to a
Names crochet beat
Semibreve or 4 crochet beats
whole note
Taa-aa-aa-aa
Saa-aa-aa-aa
Minim or half 2 crochet beats
or
note
Taa-aa
Saa-aa
Crochet or 1 crochet beat
quarter note
or Saa
Taa
Quaver or ½ crochet beat
Eighth note
Sa-seh
or
Ta – te ta - te
Semiquaver ¼ crochet beat
or sixteenth
note or sa-se
Ta-fa te-fe ta-fa te -fe

76
Activity 2.1: Clap the following rhythmic patterns:

a)

b)
Activity 2.2.: Individually clap the following rhythmic patterns:

a)

b)

c)

Activity 2.3.: Clap the following rhythmic patterns:

Activity 2.4.: Drum the following patterns:

Activity 2.5: Practice and test your knowledge of note values by completing the table
below. Fill in the correct answers.
Fill in the missing notes, words, rests and values:

77
Note Name Rest Value

i) Crotchet ii) 1 beat Crotchet beat

iii) iv) v)
vi) vii) viii)

ix) x) 1/2 Crotchet beat

78
MUSIC WORKSHEET 4
Senior Phase: Music Term: 1 Grade: 7-9
Topic 1: Time: 2h00 minutes Resources:
Music literacy Music manuscript
Pencil Eraser
Music score

Content/ Concepts: Time Signatures

1. The time signature is a notational convention commonly used in Western musical
notation to specify how many beats are in each measure or bar and which note value
constitutes one beat. In a musical score, the time signature appears at the beginning
of the piece, as a time symbol or stacked numerals such as or , which means

"common time" and "three four time", respectively, immediately following the key
signature or immediately following the clef if the key signature is empty. A mid-score
time signature, usually immediately following a barline, indicates a change of meter.
There are various types of time signatures, depending on whether the music follows
simple rhythms or involves unusual shifting tempos, including: regular- simple time
such as or ,compound time e.g. or and irregular - complex time e.g. or .

Regular time signature has two main groups groups: Simple and Compound time
signatures.
Simple Time Signature: has three subgroups and its beats can be divided by 2, 4, 8,
16. These subgroups are simple duple, triple and quadruple time because of the
number of beats in each of the subgroups in a single bar.
2. Simple Time Signature
Time signatures including simple time signatures consist of two numerals, one stacked
above the other:

the lower numeral indicates the note value which represents one beat (the
"beat unit");
the upper numeral indicates how many such beats there are in a bar.

79
Simple time: duple , triple , quadruple . The following table summarises Simple
Time Signatures

Simple duple Simple triple Simple quadruple

3. Compound time signatures:

In compound signature, subdivisions of the main beat (the upper number) are split into
three, not two, equal parts, so that a dotted note (half again longer than a regular note)
becomes the beat unit. Compound time signatures are named as if they were simple
time signatures in which the one-third part of the beat unit is the beat, so the top

number is commonly in multiples of 3 e.g. , and . The lower number is most

commonly an 8 (an eighth-note).

Compound time: duple , triple , quadruple . Table below present Compound Time
Signature
Compound Duple Compound triple Compound quadruple

Activity 3.1: Look at the Time Signature of the following songs. Let’s sing them
together

80
a)

81
b)

82
c)

83
Activity 3.2: Look at the following song and identify the Key Signature
a)

Activity 3.3: Learners share any songs they know, whether from their communities,
indigenous or popular. The class listen and identify the time signature. The song is
learnt by other learners and is sung.
Activity 3.4: Group the following time signatures accordingly and insert the
appropriate note values:

, , , , , , , , , , ,

84
Simple time Compound time Irregular time

Activity 3.5: Identify time signatures in the following patterns:

a)

b)

c)

Activity 3.6: Complete the last bars in the following rhythmic patterns:

a)

b)
Activity 3.7: Add bar lines to the following melodies

a)

b)

c)

d)

85
MUSIC WORKSHEET 5
Senior Phase: Music Term: 1 Grade: 7- 9
Topic 1: Time: 1H30 Resources:
INTERVALS Manuscript A4 paper,
Pencil, eracer.
Projector (if available);

1. Intervals
An interval is the distance between two notes. Intervals are always counted from the
lower note to the higher one, with the lower note being counted as one. Intervals come
in different qualities and size. If the notes are sounded successively, it is a melodic
interval. If sounded simultaneously, then it is a harmonic interval.
The smallest interval used in Western music is the half step. A visual representation of
a half step would be the distance between a consecutive white and black note on the
piano. There are two exceptions to this rule, as two natural half steps occur between
the notes E and F, and B and C.
A whole step is the distance between two consecutive white or black keys. It is made
up of two half steps.

2. Qualities and Size

Intervals can be described as Major (M), Minor (m), Perfect (P), Augmented (A), and
Diminished (d).
Intervals come in various sizes: Unisons, Seconds, Thirds, Fourths, Fifths, Sixths, and
Sevenths.
2nds, 3rds, 6ths, and 7ths can be found as Major and Minor.
Unisons, 4ths, 5ths, and Octaves are Perfect. Listen

86
 3. Staff

When a major interval is raised by a half step, it becomes augmented.

When a major interval is lowered by a half step, it becomes minor.
When a major interval is lowered by two half steps, it becomes diminished
When a minor interval is raised by a half step, it becomes major.
When a minor interval is raised by two half steps, it becomes augmented.
When a minor interval is lowered by a half step, it becomes diminished.

When a perfect interval is raised by a half step, it becomes augmented.

When a perfect interval is lowered by a half step, it becomes diminished.

87
Activities on Intervals
Interval Worksheet 1

88
Interval Worksheet 2

89
MUSIC WORKSHEET 6
Senior Phase: Music Term: 2 Grade:7- 9
Topic 2: Time: Suggested Resources:
contact time 15 minutes
Topic 1 Music literacy per week Musical instruments,
textbooks/songbooks/file
resource with or without
CD with music and/or
accompaniments for
songs

Content/concepts/skills: Triads on I, IV and V (close position)

1. TRIADS

A triad is a chord with 3 notes, played simultaneously. They are constructed by two
intervals of a third, based on the Root, 3rd and 5th note e.g. in the key of Cmajor: C, E,
G. Every major and minor scale has seven special triads, called diatonic triads, which
are formed from that scale's notes.

2. Kinds of triads
You get FOUR (4) kinds of triads! Each TRIAD consists of an interval of a 3rd and an
interval of a 5th. Major and augmented are related because they both have a major 3rd.
Minor and diminished are related because they both have a minor 3rd. The examples
below are all seen as taken from C major.

Augmented Major Minor Diminished

bigger: once normal smaller: once smaller: twice

Augmented 5th Perfect 5th Perfect 5th Diminished 5th

Major 3rd Major 3rd Minor 3rd Minor 3rd
Normal 1st Normal 1st Normal 1st Normal 1st

5th G# 5th G 5th G 5th Gb

3rd E 3rd E 3rd Eb 3rd Eb
1st C 1st C 1st C 1st C
Kinds of triads: TONIC ONLY: without key signature

: d m se : d m s : d ma s d ma ba

To discover the diatonic triads, a three step process must be used.

First, construct the scale. We will be using the C major scale for our first example.
Next, Augmented Major
stack two generic thirds on top Minor analyze the resultingDiminished
of each note. Finally, triads.

90
 3. Triads in Major Scale: Focus on C Major Scale
The first triad is C–E–G, a major third and a perfect fifth. Therefore, the triad is major.

The second triad is D–F–A, a minor third and a perfect fifth. Therefore, it is minor.

The third triad is E–G–B, a minor third and a perfect fifth. Therefore, it is also minor.

The fourth triad is F–A–C, a major third and a perfect fifth. Therefore, it is major.

The fifth triad is G–B–D, a major third and a perfect fifth. Therefore, it is also major.

The sixth triad is A–C–E, a minor third and a perfect fifth. Therefore, it is minor.

The seventh triad is B–D–F, a minor third and a diminished fifth. Therefore, it is
diminished.

The eighth triad is a repetition of the first (C–E–G), making it major.

The first triad of a major scale will always be major, the second and third triads will
always be minor, etc.

Triads in a MAJOR scale

I ii iii IV V vi viiº VIII

major minor minor major major minor diminished major

4. Primary Triads/ Chords

In any MAJOR key (in this case C MAJOR), The PRIMARY CHORDS (I, IV and V)
are MAJOR TRIADS since they all have a MAJOR 3rd and a PERFECT 5th. Thus, any
song in a MAJOR KEY will always use the PRIMARY CHORDS or broken chords as
basis for accompaniment. All the following are WITHOUT KEY SIGNATURE.
The TONIC, SUBDOMINANT and DOMINANT are the most frequently used!

Doh is C
: d m s V: f l d1 V: s t r1

Notation: C E G F A C G B D

: d m s V: f1 l1 d V: s1 t1 r

91
5. Secondary Triads/ Chords
Secondary triads are constructed on ii, iii, vi and vii degrees of the major scale.
Diminished triads are found on the viio degrees of the major scale

Next, we will uncover the diatonic triads of the C Natural Minor scale.

6. Triads in a Minor Scale: Focus on C Natural Minor Scale

First, the scale is constructed. Notice that we are using a key signature rather than
placing the accidentals by each note.

Again, stack two generic thirds. Finally, let's analyze the resulting triads.

The first triad is C–Eb–G, a minor third and a perfect fifth. Therefore, the triad is minor.

The second triad is D–F–Ab, a minor third and a diminished fifth. Therefore, it is
diminished.

The third triad is Eb–G–Bb, a major third and a perfect fifth. Therefore, it is major.

The fourth triad is F–Ab–C, a minor third and a perfect fifth. Therefore, it is minor.

The fifth triad is G–Bb–D, a minor third and a perfect fifth. Therefore, it is also minor.

The sixth triad is Ab–C–Eb, a major third and a perfect fifth. Therefore, it is major.

The seventh triad is Bb–D–F, a major third and a perfect fifth. Therefore, it is also
major.

The eighth triad is a repetition of the first (C–Eb–G), making it minor.

Triads in a MINOR scale

i iiº III+ iv v VI viiº viii

minor augmented minor diminished
diminished minor major minor

92
ACTIVITIES ON TRIADS
QUESTION 1
Name four kinds of triads.
QUESTION 2

Below every bar write the name of the triad

: d m se : d m s : d ma s d ma ba

(a) ___________ (b) ____________ (c) ___________ (d) ____________

QUESTION 3
Underneath every bar write the letter names which formed the triad in all keys
mentioned.

Doh is C
: d m s V: f l d V: s t r1

(A)_______________________ (B)_____________________ (C)________________

: d m s V: s1 t1 r

(A)___________________ (B)__________________ (C)_____________________

QUESTION 4
1. How are major and augmented triad related.
2. How are minor and diminished triad related.
3. The root in a C major is______________________
4. An augmented triad is created with two intervals from the root a
______________ and ________________.

93
5. The only difference between a diminished triad and a minor triad is the
_______________ .
6. A diminished triad is created with two intervals from the root:
__________________ and ______________________
7. Major triads are represented with a ________________ roman numeral.
8. Minor triads are represented with a ________________ roman numeral.
9. Diminished triads are represented by a _____________ roman numeral.
10. Augmented triads are represented by a ______________ roman numeral.

94
MUSIC WORKSHEET 7
Senior Phase: Music Term: 1 Grade:7- 9
Topic 2: Time: 1H30 Resources:
MUSIC LISTENING Sound System,
DVDs/CDs and Data
Projector (if available);
DVD/Video Player.

CONTENT/ CONCEPTS/ SKILLS: Listen to the sound of the families of instruments

of the orchestra and describe how sound is produced by: Strings, Woodwind, Brass,
Percussion

METHODOLOGY: Group activity

1. LISTENING TO MUSIC
There are many kinds of music and they are, inter alia, classical, jazz, reggae, fusion
(smooth jazz), hip hop, kwaito, isicathamiya, gospel and umbhaqanga. Music has
blended with us as part and parcel of our lives. People listen to music for various
reasons and their objectives are influenced by a number of intrinsic and extrinsic
factors. People’s moods play a major role in the kind of music they listen to, during a
particular time.

2. AIM
Listening forms an integral part of music learning and in this setting; it is not evoked by
mood or influenced by any factor. Listening is done for a purpose which is mainly
analytical in nature. In this activity participants will listen to different sounds produced
by orchestral instruments and then explain how these sounds are produced. This
activity aims at enabling the participants to identify the sounds of instruments by ear
without seeing the actual instruments. The sounds that participants will listen to are
those of the families of instruments of the orchestra. Participants will then have to
describe how sound is produced.

95
 3. FAMILIES OF ORCHESTRAL INSTRUMENTS.
Brass
Trumpet, Trombone, French horn and Tuba.

Trumpet Trombone

French horn Tuba

Listen to the sounds produced by brass instruments and pay attention to their
relationship within their class.

Percussion
Timpani, Xylophone, Marimba
Tubular Bells or Chimes
Bass Drum, Snare, Side Drum, Tom Tom

96
 Cymbals, Triangle and Tamborine

Listen to the recording of the percussion instruments and note how they sound.

Strings
Violin, Viola, Cello (Violoncello) and Double Bass (Contra Bass).

Violin Viola Cello

Double Bass
Listen to the recording (video/cd) of the string instruments and pay attention to
their relationship, in sound, within their class.

Woodwind
Flute, Clarinet, Oboe and Bassoon.

Listen to the recorded sounds produced by brass instruments and pay attention
to their relationship, to one another, within their family grouping.

97
4. SOUND PRODUCTION
Brass
Brass instruments are made of brass, thus their name. The sound of Trumpets,
Trombones, French Horns and Tubas is produced by vibration of air in a tubular
resonator in sympathy with the vibration of the player’s lips. These instruments
are also called ‘labrosones’and that means, ‘lip-vibrated instruments’.
The player blows air, into the instrument, with the mouth on the mouthpiece and
a sound is produced.

Percussion
Timpani, Xylophone, Marimba
Tubular Bells or Chimes
Bass Drum, Snare, Side Drum, Tom Tom
Cymbals, Triangle and Tamborine
These musical instruments have the sound produced by literary being struck by
a beater. They can also be struck, scraped or rubbed by hand or struck against
another similar instrument.
These are the oldest instruments, following the human voice.

Strings
The Violins, Violas, Cellos (Violoncellos) and the Double Basses (Contra
Basses) are musical instruments that produce sound from vibrating strings.
They have four strings.
These musical instruments require different playing techniques for them to
produce sound. The most common playing technique is:
Bowing: A bow is used to play these instruments and as it is moved on top of
the strings, it causes them to vibrate thus producing a sound or sounds.
Plucking: these instruments can also produce sound by being plucked by a
finger or plastic plectra.
Striking: Players are occasionally instructed, by the composer, to strike the
string with the side of the bow. This technique is called col legno (Italian for “hit
with the wood”) and it yields a percussive sound along with the pitch of the
note.

Woodwind
Flutes, Clarinets, Oboes and Bassoons are woodwind instruments divisible to
two main types of flutes and reed instruments. Flutes produce sound by
directing a focused stream of air across the edge of a hole in a cylindrical tube.
Reed instruments produce sound by focusing air into a mouthpiece which then
causes a reed or reeds to vibrate.

98
 5. SEATING PLAN

The musicians in an orchestra seat in specific areas and according to their

instruments’ families or class divisions and that is illustrated in the seating plan below.

Orchestra seating chart

Another seating plan of an orchestra

ASSESSMENT ACTIVITY

1. Give a brief description of how sound is produced in the following classes of

instruments.
a) Brass. (3)
b) Percussion. (3)
2. What are the two main types of woodwind instruments? (4)
3. Describe how sound is produced in each of the two main types of woodwind
instruments. (4)
4. Give one answer for the following questions.
a) A technique in which a bow is moved on top of the strings, causing them to
vibrate thus producing a sound or sounds is called _______ ? (2)
b) When you produce sound by plucking a string with your finger or plastic plectra,
you are applying a technique called _____ ? (2)
c) _____ is a technique of striking the string with the side of the bow. (2)

Total 20 Marks

99
MUSIC TERMINOLOGY
Tempo
Tempo time The speed of a piece of music

Largo broad Slow and dignified

Larghetto a little bit broad Not as slow as largo

Lentando slowing Becoming slower

Lento slow Slow

Adagio ad agio, at ease Slow, but not as slow as largo

Faster than adagio; or a short adagio

Adagietto little adagio
composition

Andante walking Moderately slow, flowing along

Moderato moderately At a moderate speed

Allegretto a little bit joyful Slightly slower than allegro

Largamente broadly Slow and dignified

Mosso moved Agitated

joyful; lively and

Allegro Moderately fast
fast

Fermata stopped Marks a note to be held or sustained

Presto ready Very fast

Prestissimo very ready Very very fast, as fast as possible

Accelerando accelerating Accelerating

Affrettando becoming hurried Accelerating

to slow and Slowing down and broadening, becoming

Allargando
broaden more stately and majestic, possibly louder

Ritardando to slow Decelerating

becoming
Rallentando progressively Decelerating
slower

Rubato robbed Free flowing and exempt from steady rhythm

100
Tenuto sustained Holding or sustaining a single note

The accompaniment must follow the singer

Accompagnato accompanied
who can speed up or slow down at will

In strict tempo at a marching pace (e.g. 120

Alla marcia as a march
bpm)

A tempo to time Return to previous tempo

L'istesso tempo Same speed At the same speed

Dynamics - volume
Calando quietening Becoming softer and slower

Crescendo growing Becoming louder

Decrescendo shrinking Becoming softer

Diminuendo dwindling Becoming softer

Forte strong Loud

Fortissimo very strong Very loud

Mezzo forte half-strong Moderately loud

Piano gentle Soft

Pianissimo very gentle Very soft

Mezzo piano half-gentle Moderately soft

Sforzando strained Sharply accented

101
Moods
Affettuoso with feeling Tenderly

Agitato agitated Excited and fast

Animato animated Animated

Brillante brilliant Brilliant, bright

Bruscamente brusquely Brusquely - abruptly

Cantabile singable In a singing styla

Comodo convenient Comfortably, moderately.

Con amore with love with love

Con fuoco with fire with fiery manner

Con brio with bright with bright

Con moto with movement with (audible) movement

Con spirito with spirit with spirit

Dolce sweetly Sweet

graciously or
Grazioso With charm
gracefully

Maestoso majestic Stately

Misterioso mysterious Mysteriously, secretively, enigmatic

Scherzando playfully Playfully

Sotto subdued Subdued

Semplicemente simply Simply

Vivace vivacious up-tempo

102
Musical expression (general)
Used with other terms, such as molto
Molto very
allegro

Assai very Used with other terms, such as allegro assai

Più more Used with other terms, such as più mosso

"A little". Used with other terms, such as

Poco Little
poco diminuendo

"little by little", "slowly but steadily". Used

Poco a poco little by little with other terms, such as poco a poco
crescendo

But not too much, such as allegro ma non

ma non troppo But not too much
troppo

Used with other terms, such as meno

Meno less
mosso

Directions
Attacca attach Proceed to the next section without pause

Cambiare change Any change, such as to a new instrument

Abbreviated as D.C., informs the performer

from the beginning
Da Capo (al fine) to go back to the beginning (capo)
(to the end)
(finishing where the part is marked fine)

Abbreviated as D.S., informs the performer

Dal Segno to the sign to repeat a specific section marked by a
sign (segno)

Instructs one section to divide into two or

more separate sections, each playing a
Divisi divided
separate part. Often these separate parts
are written on the same staff.

RESOURCE INFORMATION - BASIC ELEMENTS OF MUSIC

Dynamics – Volume in music e.g. Loud (Forte) & Quiet (Piano).

Duration – The length of notes, how many beats they last for. Link this to the time
signature and how many beats in the bar.
Rhythm – The effect created by combining a variety of notes with different durations.
Consider syncopation, cross rhythms, polyrhythm’s, duplets and triplets.
Structure – The overall plan of a piece of music e.g Ternary ABA and Rondo
ABACAD, verse/chorus.

103
Pitch - The relative lowness or highness that we hear in a sound. The pitch of a sound
is based on the frequency of vibration and the size of the vibrating object. The slower
the vibration and the bigger the vibrating object, the lower the pitch; the faster the
vibration and the smaller the vibrating object, the higher the pitch. For example, the
pitch of a double bass is lower than that of the violin because the double bass has
longer strings. Pitch may be definite (i.e. piano) or indefinite (i.e. cymbals).
Melody – The effect created by combining a variety of notes of different pitches.
Consider the movement e.g steps, skips, leaps.
Metre – The number of beats in a bar e.g 3/4, 6/8 consider regular and irregular time
signatures e.g. 4/4, 5/4.
Instrumentation – The combination of instruments that are used, consider articulation
and timbre e.g staccato, legato, pizzicato.
Texture – The different layers in a piece of Music e.g polyphonic, monophonic, thick,
thin.
Tempo – The speed of the music e.g. fast (Allegro), Moderate (Andante), & slow
(Lento / Largo).
Timbre – The tone quality of the music, the different sound made by the instruments
used.
Tonality – The key of a piece of music e.g Major (happy), Minor (sad), atonal.
Harmony – How notes are combined to build up chords. Consider concords and
discords.

104
ELEMENTS OF MUSIC AND FURTHER MUSIC VOCABULARY
Dynamics - Volume
Fortissimo (ff) – Very loud
Forte (f) – Loud
Mezzo Forte (mf) – Moderately loud
Mezzo Piano (mp) – Moderately quiet or soft
Piano (p) – Quiet or soft
Pianissimo (pp) – Very quiet
Crescendo (Cresc.) - Gradually getting louder
Diminuendo (Dim.) - Gradually getting quieter
Subito/Fp – Loud then suddenly soft
Dynamics - Listening
Is the music loud or quiet/ soft?
Are the changes sudden or gradual?
Does the dynamic change often?
Is there use of either a sudden loud section or note, or complete silence?
Is the use of dynamics linked to the dramatic situation? If so, how does it enhance
it?
Duration/ Rhythm (length of notes etc.)
Note values e.g. crotchet, quaver
Pulse/beat
Triplets/duplets
Dotted rhythms
Cross Rhythms – Similar to polyrhythms but rather than just different rhythms
playing, usually two different time signatures as well.
Polyrhythms – Two or more independent rhythms.
Syncopation – beats played on the weaker beats of the bar; jumpy rhythms.
Ostinato/Loop/Repetition – Repeated Patterns of music
Phrase length and shape (arch shape, spiky shape)
Phrase structure
o How long a piece of music lasts.
o Do the rhythms change as the piece progresses?
Time Signatures – Simple time e.g. 2/4, 3/4 or 4/4; Compound Time e.g. 6/8, 9/8
or 12/8 and irregular time e.g. 5/4, 7/4 or 9/4.

Duration/Rhythm - Listening
What rhythms can you hear?
Are there many rhythmic ideas or just a few?
Is the rhythm on the beat or is there syncopation?
Does the composer use several rhythmic ideas together? (This can overlap with
consideration of texture).

Structure/Form
Binary - A B (a way of structuring a piece of music).
Ternary - A B A (a structuring mechanism of a piece of music).
Da Capo Aria – A B A (aria is a solo vocal piece. Da Capo means go back to the
beginning. Popular during Baroque Period)
Minuet and Trio – A B A (popular during Classical Period)
Rondo - A B A C A D A etc.

105
Ritornello – A section that keeps returning (similar to rondo)
Arch-form – Sectional structure for a piece of music based on repetition.
Ground Bass – Repeated bassline.
Canon – Many melodies added one at a time (usually melodies upon a ground bass)
Theme and Variations – Subject followed by set of variations on the subject.
Indian Raga – Alap, Jhor, Jhala & Gat/Bandish
Aleatoric/indeterminacy/Chance – Music in which some or all of the performance is
left to chance (Experimental Music).
Sonata – a piece played as opposed to singing.
Through composed – Music that changes regularly throughout (Bohemian
Rhapsody – Queen).
Cyclic – repeated music.

Popular Song Structure

Intro
Verse (A)
Chorus (B)
Bridge
Middle Eight (C)
Outro/Coda
Strophic – Term used to describe Verse/Chorus structure

Structure/Form - Listening
What is the structure or form of the piece?
Do any of the sections within an individual piece repeat?
Are repetitions exact or varied?
What different dramatic effects are achieved?
What is the overall structure of the music?
In a comparison question – Do both versions use the same structure? Are both
versions the same length or does one have a longer introduction, for example?

Melody/Pitch
Step – next door notes.
Hop/skip – notes that are a 3rd apart.
Leap – notes that are further apart than a 3rd.
Scalic – descending/ascending within a scale.
Interval – Distance between two notes.
Chromatic – notes that don’t belong to a key.
Glissando – Rapid scalic movement on an instrument.
Ostinato – Repeated pattern.
Sequence – Repeated pattern at a higher or lower pitch.
Riff/motif – A short, repeated pattern, often in the bass part.
Imitation – A section of music that is imitated by another part or instrument.
Pitch Names (treble, bass & alto clef)
Sharp, flat and natural notes
Octave – The 8 diatonic notes between two notes of the same name.
Intervals – the distance between 2 notes.
Range of instruments
Diatonic key (major/minor)
Tonic – 1st degree of a scale

106
Subdominant – 4th degree of a scale
Dominant – 5th degree of a scale
Pentatonic – 5 note scale
Raga – Indian scale
Note Row/Basic Series – Serialism

Melody/Pitch - Listening
Is the melody stepwise or mostly in leaps (conjunct or disjunct)?
Does it cover a wide or narrow range of pitch?
Is it high-pitched or low-pitched?
How is it accompanied?
Is it diatonic or chromatic?
Is there a single melody or more than one (as in an ensemble or duet)?

Metre – Please see Duration/Rhythm

Instrumentation, Timbre & Articulation

Strings – Lute, Violin, Viola, Cello, Double Bass, Harp & Guitar
Timbre – pizzicato (plucked strings), arco (with the bow), col legno (with the wood of
the bow), double stopping (playing two strings at once), tremolo – rapid movement
upon one string
Woodwind – Flute, Piccolo, Recorder, Clarinet, Saxophone, Bassoon, Oboe,
harmonica
Timbre – Flutter tonguing (achieved by rolling an ‘R’ with the tongue), Pitch Bending
(Bending of notes, achieved by sliding fingers off the keys), Staccato (different sounds
are achieved by single and double reed instruments).
Brass – Trumpet, Cornet, Trombone, French Horn, Baritone, Euphonium, B flat Bass,
Tuba
Timbre – Played with a mute (stick it in the bell to change the sound)
Percussion (tuned & untuned) – Drum Kit, Side Drum, Piano, Maracas, Wood block,
Agogo bells, Cow bells, Triangle, Tambourine, Cymbals, Congas, Bongos,
Glockenspiel, Xylophone, Tubular Bells etc.
Timbre – Piano – prepared piano (experimental music), playing percussion with
beaters, sticks, hands etc. Hitting different parts of the drum kit e.g. centre of snare or
rim of snare.

Articulation
Legato – Smooth
Staccato – Short, detached
Accent - Emphasise the note
Tenuto – Stress the note

Voices
SATB choir.
Soprano – Female (Highest)
Alto - Female
Tenor - Male
Bass - Male (Lowest)
Treble – Highest children’s voice. Unbroken male voice. Equivalent to adult soprano.

107
Baritone – In between Tenor and Bass male voice.
Falsetto – Very high male voice (head voice).
A Capella – Unaccompanied singing.
Melisma - A tuneful flow of notes sung to a single syllable.
Backing Vocals/harmonies

Instrumentation/Timbre/Articulation - Listening
What instruments are playing?
In which order do they enter?
What significance do they have?
What combinations of instruments are playing?
Are any special playing techniques being used?
How do the instruments help in the creation of mood, situation, period or place?

Texture
Monophonic - A single line of music. A single melody line with no harmonic
accompaniment or accompanied by a drone or percussion instrument(s).
Homophonic – Melody with accompaniment. A melody line with a chordal
accompaniment.
Polyphonic – Two or more melody lines that are heard at the same time. All melody
lines are of equal importance.
Heterophonic – Two or more parts play a melody together but with some slight
differences in pitch. This is common in Indian and Gamelan music.
Thick – Many sounds or instruments playing
Thin – Few sounds or instruments playing
Unison – More than one person singing the same part
Chorus – The whole cast of an opera or musical singing
Solo, two part, three part etc.
Duet, Trio, Quartet, Quintet etc.
Tutti – Everybody playing together
Descant/Counter Melody – A Second Melody playing alongside main melody.

Melody and Accompaniment

Texture - Listening
What type of texture is it?
Does the texture change throughout?
Are there just a few instruments playing or are there many?
Is it homophonic, polyphonic, 32-bar song, strophic etc.?

Tempo – Speed
Presto – Very fast
Allegro – Fast
Vivace – Fast, lively

108
Allegretto – Moderately quick, cheerful
Moderato – Moderate
Andante – At a moderate walking pace
Adagio – Slow
Lento – Broad, slow
Largo – Very slow
Grave – Very slow and serious
Accelerando (accel.) – Gradually getting faster
Rallentando (rall.) – Gradually getting slower
Ritardando (rit.) – Holding back, slower immediately
Rubato – At a flexible speed
Allergando – broadening out
Silence/Tacet – No sound at all
Pause – Hold the note for longer than marked
A Tempo – Return to the original speed

Tempo/Speed - Listening
What is the tempo?
Does the tempo change?
What effect does changes in tempo have on the piece?
What is happening at the time of tempo changes?
Are there any periods of silence? Why?
Timbre – Please see Instrumentation, Timbre & Articulation

Tonality/Scales
Mode – Used before major/minor scales were invented. They are used to play folk
songs such as Scarborough Fair and Drunken Sailor.
Major – Mainly used in happy, joyful and celebratory music.
Minor – Mainly used in sad, solemn, unhappy pieces.
Chromatic – Means colour and uses all twelve semitones within an octave. Used in
Serialism.
Pentatonic – A 5 note scale. Used a lot in Scottish and Chinese/Japanese Music.
Whole-tone – Made up of only tones (no semitones). Popular in late 19th Century and
early 20th Century by impressionist composers.
Consonant – Notes that belong to a key/chord to produce nice harmonies
Dissonant – Notes that sound ‘wrong’ together
Cadences – These end phrases/sections of music:
(Closed) Perfect Cadence – V I
(Closed) Plagal Cadence – IV I
(Open) Imperfect Cadence – II or IV V
(Open) Interrupted Cadence – V VI
Modulation – Change of key
Transpose – Re-write a piece in a new key
Pedal – A sustained note, usually dominant or tonic:
Inverted Pedal (Played at a high pitch)
Inner Pedal (Played at a middle pitch)
Pedal (Played in the lowest bass part)
Drone – Usually a sustained part consisting of 2 notes (tonic and dominant).
Arpeggio/broken chords – Chords that are broken up.
Diatonic/Chromatic – characterise scales e.g. F sharp, B flat.

109
Passing note – A note that isn’t part of the chord.
Auxillary note – a note that falls between two adjacent notes of the same pitch.
Acciaccaturas – A grace note, played very fast.
Appoggiaturas – Similar to acciaccatura but played for longer.
Suspension – one or more notes temporarily held before resolving to a chord tune
e.g. Gsus 4.
Tierce de Picardie - a major third in the final chord of a composition in a minor key.
Seventh chords – a chord consisting of a triad plus a note forming an interval of a
seventh.
Added note chord – a triadic chord with an extra “added” note.

Harmony - Listening
What sort of harmony is being used?
Are there discords (chords that don’t sound ‘right’)?
Can you recognise any harmonic progressions e.g. cadences?
Does the composer modulate to a new key e.g. major to minor?
Are modulations sudden or gradual?

110
PERFORMANCE
Introducing Marimba Ensemble Playing
Marimba Set: 2 Soprano, 2 tenor, 2bass
Instructions: Follow the steps stipulated below to get started on marimba ensemble
playing.
1. Allocate two players to soprano and tenor respectively
2. Allocate 1 player to each bass marimba
3. Give part of the melody to all the participants, repeat the pattern until participants
can play it - GGA,
4. Give another part of the melody to all the participants, repeat the pattern until
participants can play it - GFED,
5. Give third part of the melody to all the participants, repeat the pattern until
participants can play it - GEFD
6. Combined the two parts to create a complete melody- GGA, GFED, GEFD
7. Introduced the tenor line- EC, FC, GC, GB to harmonise with the full soprano
melody
8. Introduced the bass line- CC, FF, GG.- to introduce the third part harmony
9. Repeat the pattern several times until the ensemble is comfortable playing the full
arrangement.

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GUIDELINES OF SETTING A STANDARDISED ASSESSMENT ITEM

CRITERION 1: TECHNICAL CRITERIA

Quality Indicators Y N N/A

1.1 The question paper is complete with grid, memorandum,

relevant answer sheets and formula sheets/addenda.

1.2 A file with full history of the paper with all drafts, chief examiners
and moderators’ comments, etc. (all these must accompany the
paper each time it comes to the internal moderator).

1.3 The cover page has all relevant details such as time allocation,
name of the subject, number of pages and instructions to
candidates are included on the question paper.

1.4 The instructions to candidates are clear and unambiguous.

1.5 The layout of the paper is candidate friendly.

1.6 The questions are correctly numbered.

1.7 The pages are correctly numbered.

1.8 The headers and footers on each page are consistent and
adhere to the required format.

1.9 Appropriate fonts are used throughout the paper.

1.10 Mark allocations are clearly indicated.

1.11 The paper can be completed in the time allocated.

1.12 The mark allocation in the paper is the same as that on the
memo.

1.13 The quality of drawings, illustrations, graphs, tables, etc. is

appropriate, clear, error-free and print ready.

1.14 The paper adheres to the format requirements in the CAPS

document.

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To what extent does the question paper comply with the above quality
indicators? (Mark the appropriate block with X)

Compliance Compliance
No Limited
in most in all
Compliance Compliance
respects respects

Requirements for compliance and improvement:

If a quality indicator above does not comply, specify in the table below what needs to
be done to ensure compliance. (Replace the letter with the actual number of the
quality indicator and extend the table where necessary.)

1.x

1.y

1.z

CRITERION 2: CONTENT COVERAGE

Quality Indicators Y N N/A

2.1 The paper adequately covers the topics in the CAPS document.

2.2 The questions are within the broad scope of the CAPS
document.

2.3 The paper covers questions of various types e.g. multiple choice
questions, paragraph, data response, essay, real – life scenarios
and real – life problem solving etc.

2.4 The paper allows for creative responses from candidates.

2.5 The weighting and spread of content in the CAPS document is

appropriate.

2.6 The examples and illustrations are suitable, appropriate,

relevant and academically correct.

2.7 There is a correlation between cognitive levels , levels of

difficulty and mark allocation.

2.8 The topics are appropriately linked and integrated.

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Quality Indicators Y N N/A

2.9 The questions are representative of the latest developments in

this subject.

To what extent does the assessment body comply with the above quality
indicators? (Mark the appropriate block with X)

Compliance Compliance
No Limited
in most in all
Compliance Compliance
respects respects

Evidence requirements:
If the assessment body complies with the quality indicators, please confirm that you
have verified the following as evidence:

Requirements for compliance and improvement:

If a quality indicator above does not comply, specify in the table below what needs to
be done to ensure compliance. (Replace the letter with the actual number of the
quality indicator and extend the table where necessary.)

2.x

2.y

2.z

114
CRITERION 3: TEXT SELECTION, TYPES AND QUALITY OF QUESTIONS

Quality Indicators Y N N/A

3.1 The paper includes questions of various types, e.g. multiple-

choice, paragraph, data/source-based response, essay, real-life
scenario and real-life problem-solving questions.

3.2 The paper allows for creative responses from candidates.

3.3 There is a correlation between mark allocation, level of difficulty

and time allocation.

The source material (i.e. prose text, visual, drawing, illustration,

example, table, graph)

3.4 is subject specific.

3.5 is of the required length.

3.6 is functional, relevant and appropriate.

3.7 has language complexity that is appropriate for grade 12

candidates.

3.8 allows for the testing of skills.

3.9 generates questions across the cognitive levels.

Quality of questions

3.10 The questions relate to what is pertinent in the subject.

3.11 The questions are free from vaguely defined problems,

ambiguous wording, extraneous or irrelevant information, trivia
and unintentional clues to the correct answers.

3.12 The questions provide clear instructional key words/verbs.

3.13 The questions contain sufficient information to elicit an

appropriate response.

3.14 There are no factual errors or misleading information in the

questions.

3.15 There are no double negatives in the questions or the

115
Quality Indicators Y N N/A

questions are not formulated in unnecessarily negative terms.

3.16 References in questions to prose texts, visuals, drawings,

illustrations, examples, tables, graphs, are relevant and correct.

Multiple-choice questions (where applicable)

3.17 The options follow grammatically from the stem.

3.18 The options are free from logical cues that make one of the
options an obvious choice.

3.19 The options are free from such absolute terms as “always” or
“never”.

3.20 All the options are of approximately the same length, with the
correct answer not being longer, more specific, or more
complete than other options.

3.21 A word or phrase in the stem is not repeated in the correct

answer.

3.22 The correct answer does not include elements in common with
other options.

To what extent does the assessment body comply with the above quality
indicators? (Mark the appropriate block with X)

Compliance Compliance
No Limited
in most in all
Compliance Compliance
respects respects

Requirements for compliance and improvement:

If a quality indicator above does not comply, specify in the table below what needs to
be done to ensure compliance. (Replace the letter with the actual number of the
quality indicator and extend the table where necessary.)

3.x

3.y

3.z

116
CRITERION 4: COGNITIVE SKILLS AND LEVEL OF DIFFICULTY

Quality Indicators Y N N/A

4.1 The analysis grid clearly shows the cognitive level of each
question/sub-question

4.2 There is an appropriate distribution in terms of cognitive levels

(Bloom’s taxonomy or any other taxonomy that may have been
used) and in terms of the degree of challenge
(easy/moderate/difficult questions). Degree of challenge does not
necessarily correlate with cognitive levels.

4.3 If applicable, choice questions are of an equal cognitive and level

of difficulty.

4.4 The question paper provides opportunities to assess the ability

to:

Reason

Communicate

translate from verbal to symbolic

translate visual evidence to a written response

compare and contrast

see causal relationship

express an argument clearly

4.5 The degree of difficulty is not unintentionally increased by the

inclusion of irrelevant information.

To what extent does the question paper comply with the above quality
indicators? (Mark the appropriate block with X)

Compliance Compliance
No Limited
in most in all
Compliance Compliance
respects respects

117
Evidence requirements:
If the assessment body meets the minimum standards, please confirm that you have
verified the following as evidence:
Requirements for compliance and improvement:
If a quality indicator above does not comply, specify in the table below what needs to
be done to ensure compliance. (Replace the letter with the actual number of the
quality indicator and extend the table where necessary.)

4.x

4.y

4.z

CRITERION 5: MARKING MEMORANDUM/GUIDELINES

Quality Indicators Y N N/A

5.1 The marking memo/guidelines are accurate.

5.2 The marking memo/guidelines correspond with the questions in

the question paper.

5.3 The marking memo/guidelines make allowance for relevant

alternative responses.

5.4 The marking memo/guidelines will facilitate marking.

5.5 The marking memo/guidelines are clearly laid out.

5.6 The marking memo/guidelines are complete with mark allocation

and mark distribution within each of the questions.

To what extent does the assessment body comply with the above quality
indicators? (Mark the appropriate block with X)

Compliance Compliance
No Limited
in most in all
Compliance Compliance
respects respects

118
Requirements for compliance and improvement:
If a quality indicator above does not comply, specify in the table below what needs to
be done to ensure compliance. (Replace the letter with the actual number of the
quality indicator and extend the table where necessary.)

5.x

5.y

5.z

CRITERION 6: LANGUAGE AND BIAS

Quality Indicators Y N N/A

6.1 Subject terminology/data are used correctly.

6.2 The language, register and the level and complexity of the
vocabulary are appropriate for grade 12 learners.

6.3 There are no subtleties in the grammar that might create

confusion.

6.4 The language used in the question paper is grammatically

correct.

6.5 The language used in the marking memo/guidelines is

grammatically correct.

6.6 The questions do not contain over-complicated syntax.

6.7 Foreign names, terms and jargon are accompanied by a

glossary.

6.8 There is no evidence of bias in the paper in terms of the following

issues:

Culture

Gender

Language

Political

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Quality Indicators Y N N/A

Race

Religion

Stereotyping

Province

Region

Other

6.9 The questions allow for adaptations and modifications for

assessing special needs students in the interests of inclusivity.

To what extent does the assessment body comply with the above quality
indicators? (Mark the appropriate block with X)

Compliance Compliance
No Limited
in most in all
Compliance Compliance
respects respects

Requirements for compliance and improvement:

If a quality indicator above does not comply, specify in the table below what needs to
be done to ensure compliance. (Replace the letter with the actual number of the
quality indicator and extend the table where necessary.)

6.x

6.y

6.z

120
CRITERION 7: PREDICTABILITY

Quality Indicators Y N N/A

7.1 Questions are of such a nature that they cannot be easily

spotted or predicted.

7.2 There is no verbatim repetition (“cut and paste”) of questions

from the past three years’ question papers.

7.3 The paper contains an appropriate degree of innovation.

To what extent does the assessment body comply with the above quality
indicators? (Mark the appropriate block with X)

Compliance Compliance
No Limited
in most in all
Compliance Compliance
respects respects

Requirements for compliance and improvement:

If a quality indicator above does not comply, specify in the table below what needs to
be done to ensure compliance. (Replace the letter with the actual number of the
quality indicator and extend the table where necessary.)

7.x

7.y

7.z

121
CRITERION 8: ADHERENCE TO ASSESSMENT POLICIES/GUIDELINE
DOCUMENTS

Quality Indicators Y N N/A

8.1 The question paper is in line with the current policy/guideline

documents, e.g. CAPS document

8.2 There is an accompanying analysis grid that illustrates coverage

of CAPS, weighting and spread of content as well different
cognitive levels and the percentages hereof.

8.3 The paper reflects the prescribed topics.

8.4 The weighting and spread of content of the topics as per CAPS
document.

To what extent does the assessment body comply with the above quality
indicators? (Mark the appropriate block with X)

Compliance Compliance
No Limited
in most in all
Compliance Compliance
respects respects

Requirements for compliance and improvement:

If a quality indicator above does not comply, specify in the table below what needs to
be done to ensure compliance. (Replace the letter with the actual number of the
quality indicator and extend the table where necessary.)

8.x

8.y

8.z

122
CRITERION 9: OVERALL IMPRESSION

Quality Indicators Y N N/A

9.1 The question paper is in line with the current policy/guideline

documents, e.g. CAPS document.

9.2 The question paper is fair, valid and reliable.

9.3 The paper as a whole assesses the topics in the CAPS

document.

9.4 The question paper is of the appropriate standard.

9.5 The standard of the question paper compares favourably with

previous years’ question papers.

9.6 There is a balance among the assessment of skills, knowledge,

attitudes, values and reasoning.

To what extent does the assessment body comply with the above quality
indicators? (Mark the appropriate block with X)

Compliance Compliance
No Limited
in most in all
Compliance Compliance
respects respects

Requirements for compliance and improvement:

If a quality indicator above does not comply, specify in the table below what needs to
be done to ensure compliance. (Replace the letter with the actual number of the
quality indicator and extend the table where necessary.)

9.x

9.y

9.z

123
SUBMISSION SUMMARY

In order to ensure that you have included all the evidence required under
each criterion, please complete this template.

Not included
Criteria Evidence Requirements

Included
Comment
Ye No
s
1 Adherence to analysis grid. Analysis grid
CAPS Documents has been
provided.

2 Content Coverage analysis grid. Analysis grid

has been
provided.
3 Cognitive skills analysis grid. Analysis grid
has been
provided.
4 Degree of difficulty analysis grid. Analysis grid
has been
provided.
5 Language and Bias The language is grammatically correct and appropriate
for the Grade 12 candidates.

6 Predictability
The paper cannot be spotted or predicated.

7 Marking memo Marking memo is accurate with the correct distribution

within each of the questions.

8 Technical criteria The paper is complete with grid, memo and all the
drafts.

9 Internal Moderation Signed moderated The copies

copies of question have been
paper and memoranda signed and the
indicating suggested changes have
changes to be made been indicated.

124
 Internal moderator’s
report
The internal
moderator’s
report has been
included.

Evidence has
Evidence of Internal been provided.
moderation
Evidence of inputs Inputs have
from the internal been indicated
moderator by the internal
moderator.
Recommendati
ons has been
Evidence of internal addressed by
moderator’s the panel
recommendations
being addressed
10 Overall impression The question paper is in line with the current
of the paper policy/guideline documents but some changes has to
be made by the panel.

125
10. GENERAL REMARKS

Please indicate with X in the appropriate space below. Ensure thatyou tick ONLY
on ONE of the FOUR choices below, and provide reasons for the conclusion.

This Question Paper is herewith:

1. APPROVED

OR

2. CONDITIONALLY APPROVED, TO BE SUBMITTED FOR SECOND/

SUBSEQUENT MODERATION X

OR

3. CONDITIONALLY APPROVED, NOT TO BE SUBMITTED FOR SECOND/

SUBSEQUENT MODERATION

OR

4. NOT APPROVED, MUST BE SUBMITTED FOR ANOTHER MODERATION

126
Complete dates for on-site or off-site moderation, whichever is applicable.

Date submitted for internal moderation

Date received from assessment body
Date internal moderation completed
Date returned to assessment body
Internal moderator/s signature

127
ANNEXURE

Detailed recommendations made by the Internal Moderators for improvement

and which need to be effected by the Examiners and checked by the Internal
Moderator.

Subject
Set A
or B
Paper Date of
Examination

Question Proposed Change/Recommendation

number Reason for change

Question Paper (English Version – General Comments)

Question Paper (English Version – Specific Comments)

Marking Memo (English Version – General Comments)

128
Question Proposed Change/Recommendation
number Reason for change

Marking Memo (English Version – Specific Comments)

Question Paper (Afrikaans Version – General Comments) – OPTIONAL

Question Paper (Afrikaans Version – Specific Comments) – OPTIONAL

129
Question Proposed Change/Recommendation
number Reason for change

Marking Memo (Afrikaans Version – General Comments) – OPTIONAL

Marking Memo (Afrikaans Version – Specific Comments) – OPTIONAL

130
COMMENTS ON CREATIVE ARTS SBA BOOKLETS (GET)

DANCE

1. Remove the content from page 57-72 completely.

2. Use capita “O” on the word “Overall Comment” in the rubric tables on
pp. 43; 44, and 45
3. Align the left margin on page 8 onwards.
4. Add, before paragraph 6 on page 12, the entire section on
“Guidelines for Setting a Standardised Assessment” that is on pp113-
133 of the Music SBA.
1. Include the Annexure on “UNDERSTANDING STEAM” below at the
end of the SBA Booklet.

MUSIC

1. Eliminate the space on p.4

2. Include the Annexure on “UNDERSTANDING STEAM” below at the
end of the SBA Booklet.
.

DRAMATIC ARTS

3. Table of contents: Correct the comment “Error bookmark not defined”

text
4. Align the left margin on page 7 onwards.
5. Add, before paragraph 6 on page 10, the entire section on
“Guidelines for Setting a Standardised Assessment” that is on pp113-
133 of the Music SBA.
6. Include the Annexure on “UNDERSTANDING STEAM” below at the
end of the SBA Booklet.

VISUAL ARTS

1. Align the left margin on page 8 onwards.

2. Add, before paragraph 6 at the top of page 12, the entire section on
“Guidelines for Setting a Standardised Assessment” that is on pp113-
133 of the Music SBA.
7. Include the Annexure on “UNDERSTANDING STEAM” below at the
end of the SBA Booklet.

131
ANNEXURE
UNDERSTANDING STEAM
STEM (science, technology, engineering, and math) has been around a while now,
long enough for educators to see its outcomes and practices unfold in schools
across the nation. But not long ago, various educators proposed adding an “A” (for
arts) to the STEM concept, sparking a national debate about whether the arts have a
place in STEM education. Do you think the “A” is just as important as every other
letter in STEAM?
President Barack Obama put out the call in his 2011 State of the Union Address,
igniting a movement to teach students 21st-century skills to become more
competitive with other nations in the fields of STEM. Millions in funding from public
and private sectors flooded in for teacher training, grants, research, and school
programs that promote STEM study. In the last decade, we’ve seen an increase in
math and science course offerings, higher expectations for testing, and an evolution
of project-based learning using STEM as a framework for exploration.
Although there have been many proponents of changing STEM to STEAM to
incorporate the arts, the movement has been largely championed by John Maeda—
president of the Rhode Island School of Design (RISD) from 2008-2013—who
actually spoke at Concordia in 2016 on this very topic. He posits that the arts
(including liberal arts, fine arts, music, design-thinking, and language arts) are critical
components to innovation, and that the concept is not about giving equal or more
time to STEM orarts, but to incorporate, where appropriate, the artistic and design-
related skills and thinking processes to student-learning in STEM.

When we reached out to RISD to learn more, Babette Allina, Director, Government
and Corporate Relations at RISD, told us: “Making the case for creativity was at the
heart of the RISD-led movement to promote ‘STEAM.’ It succeeded because it was
driven by student interest, and by K-12 teachers throughout the United States who
knew that the practical application of interdisciplinary, project-based learning was a
familiar methodology that worked. RISD’s advocacy platform reflected that
grassroots knowledge – adding the ‘A’ for art and design to science, technology,
engineering, and math to empower creatives and promote collaboration across the
disciplines.”

Why the “A” in STEAM is just as important as every other letter

Yes, we have an alarming STEM shortage in our country. That’s pretty undeniable.
But every engineer who comes up with a new innovation practices far more than
math, engineering, and technological prowess. They also use design-thinking,
creativity, communication, and artistic skills to bring those innovations to fruition. The
antiquated idea that scientists are isolated workers huddled away in laboratories is a
falsehood.

Today’s innovators are creative beasts, working collaboratively in open workspaces,

sharing ideas globally with other thinkers, and combining their STEM powers with
some killer STEAM talents. Today’s Google workers aren’t just software engineers or
coders sitting in dark rooms lit only by computer monitors. They’re design-thinkers
who spent 20 percent of their time developing passion projects (The20TimeProject).

132
Today’s trailblazers are communicators who design, craft, experiment, and pioneer
in the light.

STEAM encourages natural curiosity

John Dewey, the pragmatist himself, believed in the desegregation of subjects and in
allowing children to just ask and seek answers with their unbridled natural curiosity.
As many teachers witness in secondary school, students largely believe that asking
questions indicates a lack of understanding, not curiosity. This sequestration of
knowledge into categories that don’t connect is ultimately detrimental to our
students because in the real world, all of it blends together. The scientist who
can use science and math to create a new treatment for disease must also
incorporate design-thinking to imagine and visualize her work. She must also
express herself with impressive communication skills in order to secure funding and
support. She must work collaboratively with her colleagues and investors to improve
and expand ideas, and then publicly speak about her progress and discoveries with
eloquence and ease. This multi-skilled individual is a representation of a student who
understands how academic subjects are meant to be a genuine symphony and not a
collection of discordant solos.

On the elementary level, where subjects are far less segregated, we see the most
creative STEAM projects online to engage and inspire young learners. Our nation’s
high schools, however, are largely still separated into categories of subject learning
and testing, making it more difficult to apply a true STEAM model of learning. The
National Research Council’s 2011 papers on STEM schools noted that one of the
biggest roadblocks to STEM success is the current testing landscape. Most state
tests feature multiple choice questioning, requiring extensive test prep for schools in
segregated subject models.

STEAM helps attract more students into STEM fields

This fractioning off of areas of study and the focus on testing and rigor contributes to
the continually low levels of student engagement in STEM—especially for students
of color and females. But science, math, technology, and engineering are
fascinating! So why do we generally insist on making them so very dull and
disconnected from their applications in the real world? (That’s not to say that there
aren’t amazing teachers and schools doing amazing things. There are!) While the
STEM movement has filled student schedules with more math and science courses,
it’s also filled them with endless hours of teaching to tests. Therefore, we perhaps
haven’t really given STEM or STEAM a real chance to work.

The great fear is that adding the “A” to STEM might distract from the other letters in
STEM, which are admittedly in dire need of more attention. In Education Week, artist
and teacher Ruth Catchen notes that the arts serve as a method for onboarding
learners to STEM subjects, especially those who are under-represented. We need
the “A”—not just because real STEM professionals need artistic and design
skills to be better STEM professionals, but because the arts are a way to
recruit students to the wonders of STEM.

133
Making it work
To make STEM truly work, we should include the arts. True 21st-century STEM
professionals are also well-rounded design-thinkers and skillful communicators.
We need to do better as a nation bringing our young people into STEM, and adding
the arts is a practical avenue to do so. But real STEAM success lies in adjusting our
larger policies and testing structures to account for blended STEAM study. We can’t
entirely change what’s happening in the classroom without accounting for changing
our testing and accountability measures. Finally, we need to make STEAM study
engaging, relevant, and connected to the real world. Not just to make it interesting,
but because STEAM really is real-world learning.

Now… what about the new argument for adding an “R” (for reading) to STEAM?
STREAM, anyone?

Jennifer L.M. Gunn spent 10 years in newspaper and magazine publishing before
moving to public education. She is a curriculum designer, teaching coach, and high
school educator in New York City. She is also cofounder of the annual EDxEDNYC
Education Conference for teacher-led innovation, and regularly presents at
conferences on the topics of adolescent literacy, leadership, and education
innovation.

50 Ways To Integrate Art Into Any Lesson

By Lisa Chesser

As children, young children, everything meant playing and art. We saw the world as
a playground and a canvass. It didn’t matter whether or not we could actually draw.
What mattered was the thrill of creating something beautiful.
We were all artists. We still are.

So reminding students that inspiration matters, that art lives and breathes inside
every segment of education also means tweaking your lessons a bit. Switching your
perspective to what’s really important at the core of any lesson may mean the
difference between losing your students’ attention and actually getting your point
across.

Albert Einstein wrote: The most beautiful thing we can experience is the mysterious.
It is the source of all true art and all science. So the unknown, the mysterious, is
where art and science meet.

Keeping his words in mind, educators everywhere are beginning to work art into
education. Because we live in the 21st century, we have all the tools right at our
fingertips, quite literally. The Internet hosts site after site devoted to integrating art
into education. Right here, you’ll find some of the best websites and some interesting
ideas that are easily altered to fit various lessons. Explore 50 ways to add artistic
elements to the simplest and most complex lessons.

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MATH
1. Lego Engineers
Besides LegoLand embodying a living, breathing demonstration of how Legos
inspire children, Lego is making a fortune off the coolest kits around. Lego building
requires everything from patience to vision. To achieve that vision, the builder needs
good strategy. Strategy relies on mathematical skills. Everything from basic addition
and subtraction to engineering skills blossoms when Lego’s pop into the picture. So,
have students use Legos to demonstrate mathematical skills at each and every level.
From robotics to engineering, Legos inspire learners. Visit www.legoeducation.us for
more information.

2. Marshmallow Math
Stack them. Create shapes with them. Add, subtract, multiply and divide them.

Then eat them. If you take a bag of marshmallows and you tell a child, “I’ll let you eat
these if you get all the answers correct,” then you let the child use the marshmallows
to find the answer, that child will get all the answers correct.

That’s the art of teaching math. I used to think that the older kids got, the less they
cared about silly rewards like those marshmallows, but I was so wrong. They care
even more. Life becomes a series of “pointless” classwork and homework
assignments with quizzes and tests to follow if teachers don’t force fun.

3. Design Parks
Mathematicians, whether they’re engineers or architects or otherwise, know the
importance of technology so teachers need to utilize it when helping students
understand the value of every lesson. At mathbydesign.thinkport.orgyou can find
interactive games where students can design a park in the center of town.

4. I Hart Math Doodles

Take note of a girl and a math mission. She blows the concept that math means
repetition and rudimentary mechanics right out of the water. Her site provides plenty
of innovative “techniques” for seeing math in a different light. In one very amusing
video, she shows how the typical factoring lesson turns into doodling stars, which
she turns into a lesson on factoring itself. Check her doodles out at vihart.com

5. Khan Academy
If doodling isn’t quite enough, try the Khan Academy for more of Vi Hart and the
basics as well as anything else your heart desires. Math, Science, Economics,
Humanities, and even test prep fill the website. It’s different because it doesn’t
condescend. It doesn’t condescend because the site and it’s master creator, Sal
Khan, offer visuals on how to understand the basics of math and other educational
subjects without the assumption that it’s impossible to communicate. Start with the
link on how to use it in the classroom. It will make all the
difference. www.khanacademy.com

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6. MArTH Tools
At Math Munch, they’ve even conjured up a witty name for their merging of art and
math called MArTH Tools. Teachers can find resources for inspiration, but more
importantly, there are links to interactive tools that teach difficult concepts as well as
practical skills. mathmunch.wordpress.com

7. Colors Multiplied
Multiplication can be taught with simple yet beautiful colors and shapes. Check out
some beautiful images at mathlesstraveled.com. Even teach prime numbers using
some manipulation.

8. Math Journals
Teachers can vary assignments and difficulty levels by creating a math journal,
which is ultimately a math adventure in the same vein as Indiana Jones. It gives
importance and application to www.mathsquad.com

9. Bridges
Basic word problems require students to draw or write out how they came to their
conclusion. So why shouldn’t more complicated math be seen in the same way?

According to the Bridges Organization bridgesmathart.org, math needs art and vice
versa. This organization plans an annual conference focusing on the connection
between art and math. At their website, you can find a wealth of information on
mathematics and art.

10. Cinderella
Cinderella.2 software offers users geometry, virtual laboratories, and university-level
mathematics with analytical functions. Students will learn while creating.

GEOMETRY
11. GeoGebra
GeoGebra gives students insight into planetary motion, exterior angles of polygons,
rotating triangles, and more. The site also offers loads of information and
worksheets. https://www.geogebratube.org/

12. Mosaics
Mosaics are a great way to introduce shapes to young minds so why not
communicate the same way with older students. You can create them the traditional
way, out of glass, or use cellophane paper or even just regular paper. Review basic
shapes then piece them together and have students create patterns.

13. Patterns
Tessellations, infinite patterns with varying shapes, can help you teach about the
polygon, plane, vertex, and adjacent. Students can put patterns together on paper or
use basic computer programs to tile images. Just taking the time to show students
something so simple gives them the basis they need to move on to more difficult
problem solving lessons. www.teachervision.fen.com

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14. Origami Art
Origami art will add dimension with texture and movement. While giving young
students a fun way to see shapes come together and create all sorts of animals or
three-dimensional geometric shapes to marvel at, the origami art can evolve into a
sophisticated tool for using math and engineering skills. Robert Lang explains the
transformation at the following video:

15. Three-Dimensional shapes

With some compass points, scissors, glue, construction paper and bobby pins,
students can create Polyhedra. Learn more about that at www.ldlewis.com

16. Wheel of Theodorus

Students calculate, draw and create new images while learning the Pythagorean
Theorem. Find details at www.ldlewis.com

17. Alice & Algebra

Teach multiplication of fractions using the story of Alice in Wonderland. Melanie
Bayley, an Oxford scholar, wrote a dissertation on this very subject. Just the
manipulation of size from small to large and back again becomes a starting point for
calculations to begin. Find out more on the practical implementation in the classroom
at www.newscientist.com

18. Triangle to Square

So many sites and blogs have great animation to teach all kinds of theories. Matt
Henderson teaches signal processing with rotating circles and a digital square wave.
He also creates some cool doodle animation showing how drawing lines starting with
a simple triangle can turn into a square.

SCIENCE
19. Art in Labs
Students take a concept and turn it into art or even use the materials for art. Many
artists do this anyway so why shouldn’t this be a part of coursework? Visit
www.biology.emory.edu Working in labs themselves, students then create art out of
bacteria and fungi.

20. The Art of Biology

Students create beautiful works of art with imaging technologies. Use that to
introduce various lessons or a concept and the brain’s eye will attach itself to the
particulars much better than simply assigning homework and moving on to an exam.
Visit www.cmu.edu to learn more.

21. Toothbrush Robots

If your goal hinges on recruiting girls into the scientific field then art helps.
Try coolgirls-scienceart.org They gather the girls to shoot rockets, create art shows,
and play with bugs. Just knowing that science is NOT a man in a white lab coat
ready to slice open a dead animal might mean the difference between a career in
fashion and a career in chemical engineering. You’ll also find information on unique
activities such as making toothbrush robots.

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22. Chemistry
Through the Art Institute of Chicago, teachers can access lectures and lesson plans
on the value of art in teaching chemistry and the chemistry of physics and light plus
art and astronomy. www.artic.edu

23. Fresco Chemistry

Check out issuu.com’s newsletter on various activities from green chemistry to music
in chemistry. Several activities fill the newsletter with step-by-step processes
followed by an explanation of how the chemistry works. One of those is making a
fresco. issuu.com

24. The Golden Dream

Return to the beginnings of chemistry and art with alchemy at www.pbs.org
Follow the guide to turn metal into gold. The fascination with the process sparks
curiosity if nothing else.

25. Unique Perspectives

Try www.cosmosmagazine.com for ideas and articles on the mixture of science and
art. Article upon article covers current topics in relation to the importance of science
past, present and future. Ready for students to read, bring reality into science fiction
with articles such as “Earth-like Planets May Be Closer than Thought.”

COMPUTER SCIENCE
26. Alice.org
Alice teaches students how to program through dragging and dropping graphics.
They’re taking 3-D objects inside a virtual world and animating them. They ultimately
learn to build stories, create interactive games or video’s for sharing. alice.org

27. Polynomiography
Dr. Bahman Kalantari, professor of computer science at Rutgers University,
introduced the idea of polynomiography. It literally means the visualization of
polynomials. “Polynomials are so important that all students need to know about
them no matter what scientific field they would want to follow.

But because the foundation of solving equations can be identified with points in the
plane, visually it is very appealing to all ages,” Dr. Kalantari explains.
Visit www.polynomiography.com to explore.

28. Scratch
Scratch is a site hailing from MIT. Students gain access to software that teaches
them to create and share interactive stories, games, music, and art. scratch.mit.edu

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MOVIES USED ACROSS CURRICULA
29. BrainPop
There is nothing that BrainPop can’t teach. The films are silly yet humorous and by
far, they’re educational. The mini movies run the gamut from Language Arts to Math
to Science to Social Studies. Kids like it because it’s not in a textbook. Adults like it
because it’s not in a textbook. www.brainpop.com

30. Bitesize
In the same vein as BrainPop, Bitesize delivers the basics in short movies or sound
bites. Teachers can use this to help students practice or even begin their journey into
standardized essays and Spanish basics. The visuals and set up make it a great
place to return to in order to build upon different lessons within any
subject. www.bbc.co.uk

31. Sheppard Software

Like Brainpop and Bitesize, Sheppard has mini movies and games. Choosing one
over the other depends on the difficulty of the lesson and the extent of the
film. www.sheppardsoftware.com

32. VideoLab
If you can’t actually demonstrate in the lab, the next best thing is video.
At video.sciencemag.org teachers can show short videos to begin a lesson,
transition from one to another, or just explain the facts and information with the
necessary visuals.

WRITING & GRAMMAR

33. Art in a Word
Inspired by Doodle for Google, the annual competition giving students a chance to
draw a new Google theme, the idea of Art in a Word challenges students to take the
vocabulary word and turn each letter into the representation of its meaning. On the
back of the page, teachers should have students use the word within context, writing
it in a sentence, identifying the part of speech, then defining it.

34. Advertising
Have students create a full-page ad for their favorite product. Make up the criteria for
them so that they have to use sentences with adjectives and strong verbs. Then
have them edit their work. Meanwhile, teach them all types of grammar lessons in
the process.

35. Bare Books

A book of their own means more to students than an ipod. They just don’t know it
until they’ve created it. Depending on the assignment, teachers can buy books in
bulk for as little as a dollar each. These books can be used for poetry or stories,
leaving the rest of the blank space for art. www.barebooks.com If your students are
more electronically inclined check out a new site that’s making it even easier to
create e-books at www.holartbooks.com

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36. Paint the Strawberry
For writing teachers who need to emphasize the idea of “show don’t tell,” have
students describe the strawberry or another type of food commonly eaten. They
need to reconstruct the image including taste and sensations in the reader’s mind.

This means they have to come up with 10 to 20 descriptive words (depends on

difficulty level) and use them in a paragraph describing the strawberry. The
strawberry should be on display on a stool as the subject of their work of art. It
sometimes draws a comedic response for an even better lesson.

READING
Some students thrive in any reading environment. Others crumble. Over the years,
I’ve noticed the basic difference between an engaged reader and one who struggles
is the ability to visualize.

37. LiteracyHead
Whether students are struggling with basic reading awareness or writing skills, this
site helps teachers use art as an inspiration to bridge the gap in communication. For
comprehension, an image opens on the screen and asks the question, “In what ways
does this picture connect to others?” www.literacyhead.com

38. Graphic Novels

Greek Myths can confuse even the most interested reader, but turn it into a graphic
novel or a booklet with illustrations and you’ve got an active, engaged reader.
There’s a reason why there’s a comic culture out there in which people become
obsessed with superheroes.

39. Comic Creator

When reading Tell-Tale Heart by Edgar Allen Poe with students, I rely on an
amazing website full of free lesson plans and links to everything you
need. www.readwritethink.org For this one, I read the story in a scary voice, the
room dark, only the words projected while the students predict the next twist. Then
they have the option of creating a comic strip about it. They can use the comic
creator if they don’t want to draw it themselves.

40. Poetry Café

This can be used as monthly or even weekly motivation for students to work on
poetry. Decorate the room with poems and artwork inspired by those poems. Then
let the students enjoy readings from other students. At the end of a lesson or as a
reward for long, tough assignments, students can organize a coffee and cake
session where they read their works or the works of poets around the world.

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SOCIAL STUDIES
41. Map Art
Old maps hanging on a wall build an atmosphere of art and history combined with
adventure. But, understanding them can be a difficult task. So having students
create maps ignites the learning process and forces them to work through those
difficulties. Visit historymatters.gmu.edu for simple explanations on the creation
process.

42. Divide and Conquer

Teaching about different cultures means making them come alive. The Inuit people
should live on a canvass, dancing, singing, hunting, and building. So, have students
make a brochure from a poster cut in half. Bend it into threes. Divide into sections
such as origins, tradition, geography, food and accomplishments.

43. Forget-Me-Not Dioramas

I haven’t met a history teacher who hasn’t had a diorama project quick on hand.
However, requiring an artistic approach changes the dynamics of the criteria with
which the student learns. Give the students an assignment they will never forget.
Isn’t that the idea?

For example, war isn’t about guns and death as much as it’s about lost love. If World
War I must be represented, let it be told with love. Start with the love letters of Harriet
Johnson to her boyfriend and continue from there. This not only teaches the
emotional loss at Wartime but adds value and meaning to a lesson.

44. Folk Art

It’s as simple as having students recreate folk art from a certain time period and a
culture and presenting it with facts and information. The inspiration matches the
assignment giving each student a firm grasp of the value of an individual within a
larger segment of society. Visit www.folkartmuseum.org or www.mexican-folk-art-
guide.com for more ideas and information.

45. Transformation
Change the entire classroom into a diorama. It’s been done many times in my own
classroom. Entire walls become pyramids. Others become waterfalls. And, the great
part isn’t even the fact that students will work 9 a.m. to 9 p.m. to build a pyramid, but
they will learn everything about that time period while they’re doing it. It takes a lot of
patience, planning, and very considerate faculty, but it’s worth it because of the pride
and energy students earn from this lesson.

46. Film Recreations

Students, especially older ones, love filming anything. So have them recreate a
historical event, film it, and present it to the class. Sure you could have them act it
out but using video and technology will allow them to edit and start over if necessary.

47. Documentaries
In order to get students’ attention, tell them they need to mimic documentaries. Show
them several types and then let them choose one to duplicate or even come up with

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a current event of their own to document. The student presentations not only reteach
the subject matter to each other but give them control over their learning.

48. Write History

Have students recreate a time in history and include themselves. They can take on
characteristics of certain people who lived at that time or they can create their own
person from pieces of different types of people during that time period.

49. Hero History

Twist the concept of a hero into the ordinary citizen as a leader, innovator, and
survivor of that time. Students can choose an actual “hero” or famous character to
dress as and give a speech about or they can piece together a hero from the famous
leaders of the time.

50. Twisted Timeline

There’s nothing better than a timeline to teach important dates in history. But, no one
ever teaches that stories, which are what history is about, never quite move in a
straight line. The timeline still flows in the same direction, students just twist it a little,
take side routes and learn about details they might never have paid attention to
when cramming for a test.

For example, if the time period focuses on the American Revolution then use the
dates to carry students through to the next date but wind around to the left or right,
take a detour, find out some interesting cultural facts within those two dates and add
that to the timeline.

Visit timelines.com for detailed timelines with great images that students can add to
their own.
As a final note, if the art warrants it, always make sure there’s a wall or a table for
display. Displaying finished pieces gives artists a sense of satisfaction. Children who
don’t see their work rewarded lose motivation, the same is true of young adults, and
even more so of adults.

If yours is a virtual classroom, build a blog around your students’ creations. Creating
one is simple enough nowadays. You don’t even have to know how to code. It
doesn’t matter if the entire world knows about it. All that matters is that they know
about it, that they can say they’re work “hangs” there.

Lastly, introducing art into any classroom means thoughtful planning but also a very
real understanding that there will be loss of control. Knowing this can be very
liberating for a teacher, but it can also be uncomfortable. However, once you allow
yourself to be comfortable with it, students will master the lesson and, more often
than not, surpass it.

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About Lisa Chesser
A former Publications Specialist at Florida International University where she also
received a bachelor’s degree in English, Lisa Chesser left the publishing field to
pursue a career in education.

In her first three years of teaching Language Arts, she won an Excellence in
Teaching Award for helping students achieve 50 percent learning gains. Because
she’s also a writer, an editor, and an artist by trade, students often take more interest
in their learning environment because she teaches them the value of it in the
workplace.

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