Cambridge A Level Music 9483 — 2024 May/June Paper 1 · Variant 1

This document has 12 pages. [Turn over Cambridge International AS & A Level MUSIC 9483/11 Paper 1 Listening May/June 2024 2 hours You must answer on the question paper. You will need: Insert (enclosed) Section B audio recordings Manuscript paper (optional) Section A audio recordings (provided) Candidates may use their own unedited recording of the Set Works in Section B only. INSTRUCTIONS ● Answer five questions in total: Section A: answer all three questions. Section B: answer one question. Section C: answer one question. ● Use a black or dark blue pen. ● Write your name, centre number and candidate number in the boxes at the top of the page. ● Write your answer to each question in the space provided. ● Do not use an erasable pen or correction fluid. ● Do not write on any bar codes. ● Recordings: you must listen to recordings on individual listening equipment with headphones. Individual recordings for Section A are provided. You may use your own unedited recordings of the Set Works in Section B and may listen to extracts from any of them. No recordings are to be used for Section C. ● You may find it useful to make notes as you listen to the extracts. ● Scores: the insert contains the score referred to in Section A. No additional scores may be used. INFORMATION ● The total mark for this paper is 100. ● The number of marks for each question or part question is shown in brackets [ ]. * 0 3 2 6 0 0 9 9 5 4 * DC (SL) 335364/3 © UCLES 2024

2 9483/11/M/J/24 © UCLES 2024 You are advised to spend no more than 45 minutes on each of Sections A and B and no more than 30 minutes on Section C. Section A – Compositional Techniques and Performance Practice Answer all questions in Section A. Your audio recordings contain three tracks. Track 1 contains the music for Question 1. Track 2 contains Performance A and Track 3 contains Performance B. A full score of the music for Questions 2 and 3 is in the accompanying insert. No additional scores may be used in Section A. 1 Listen to this extract from Handel’s Water Music, Suite in F Major (Track 1). (a) From which movement is this extract taken? … [1] (b) Name the solo instrument. … [1] (c) Identify the cadence that ends the movement. … [1] (d) Comment on the soloist’s treatment of the melody. … … … [2]

3 9483/11/M/J/24 © UCLES 2024 [Turn over 2 Listen to Performance A on the recording provided (Track 2). Look at the score, which you will find in the separate insert, and read through the questions. (a) Describe the texture of the music in bars 21–52. … … … … [3] (b) Precisely identify the melodic device in the solo flute part in bars 73–74. … [2] (c) In bar 76, there is an imperfect cadence in D major. Precisely identify the first chord. … [2] (d) Name the harmonic device used by the recorder in bars 1034–1043. … [1] (e) Describe the structure of the extract. Refer to keys and bar numbers to identify the different sections. … … … … … … … [6]

4 9483/11/M/J/24 © UCLES 2024 3 Refer to both Performances A and B on the recordings provided (Tracks 2 and 3). (a) Comment on the use of ornamentation in each performance. Refer to bar numbers in your answer. … … … … … … … [6] (b) Compare the two performances. You may wish to refer to instrumentation, pitch, tempo, dynamics, articulation, the overall sound or any other features you consider important. You should not refer to ornamentation. … … … … … … … … … … … … [10]

5 9483/11/M/J/24 © UCLES 2024 [Turn over Section B – Understanding Music Answer one question in Section B. Refer to your own unedited recordings of the set works. You may not use scores. 4 How do harmony and tonality contribute to scene setting in Debussy’s La Cathédrale engloutie and in any one movement from Grieg’s Peer Gynt, Suite No. 2? [35] 5 How does Rimsky-Korsakov’s use of instruments support the storytelling in any two movements of Scheherazade? [35] … … … … … … … … … … … … … … … … … … … … … …

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9 9483/11/M/J/24 © UCLES 2024 [Turn over Section C – Connecting Music Answer one question in Section C. You must refer to musical examples of two or more styles or traditions from: world, folk, pop, jazz. You may also refer to music from the Western classical tradition not including the set works. You may not use recordings or scores. 6 How can music of different cultures and traditions be linked to a particular time and/or place? [30] 7 Discuss how improvisation is used in different musical traditions. [30] 8 What are some of the different ways in which music can be structured? [30] … … … … … … … … … … … … … … … … … … … … …

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12 9483/11/M/J/24 © UCLES 2024 Permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared where possible. Every reasonable effort has been made by the publisher (UCLES) to trace copyright holders, but if any items requiring clearance have unwittingly been included, the publisher will be pleased to make amends at the earliest possible opportunity. To avoid the issue of disclosure of answer-related information to candidates, all copyright acknowledgements are reproduced online in the Cambridge Assessment International Education Copyright Acknowledgements Booklet. This is produced for each series of examinations and is freely available to download at www.cambridgeinternational.org after the live examination series. Cambridge Assessment International Education is part of Cambridge Assessment. Cambridge Assessment is the brand name of the University of Cambridge Local Examinations Syndicate (UCLES), which is a department of the University of Cambridge. … … … … … … … … … … … … … … … … … … … … … … … …