Cambridge A Level Music 9703 — 2018 May/June Paper 1 · Variant 3

* 9 3 2 3 3 8 8 8 9 0 * This document consists of 2 printed pages, 2 blank pages and 1 Insert. DC (ST) 148125 © UCLES 2018 [Turn over MUSIC 9703/13 Paper 1 Listening May/June 2018 2 hours Additional Materials: Manuscript Paper (optional) Candidates may use unedited recordings of the Prescribed Works in Section A and the Core Works in Section B and may listen to extracts from any of them on headphones. No scores may be used. READ THESE INSTRUCTIONS FIRST An answer booklet is provided inside this question paper. You should follow the instructions on the front cover of the answer booklet. If you need additional paper ask the invigilator for a continuation booklet. Answer three questions, one from each of Sections A, B and C. You are advised to spend no longer than 45 minutes on each of Sections A and B and 30 minutes on Section C. At the end of the examination, fasten all your work securely together. The number of marks is given in brackets [ ] at the end of each question or part question. Cambridge International Examinations Cambridge International Advanced Subsidiary and Advanced Level

2 9703/13/M/J/18 © UCLES 2018 Answer one question from each Section. Section A – The ‘First Viennese School’ 1770–1827 Answer one question. 1 Write a detailed commentary on the second movement of Haydn’s Trumpet Concerto. [35 marks] 2 How does Beethoven vary texture in the third movement of his Clarinet Trio? Refer to at least three variations. [35 marks] 3 Compare the third movements of Mozart’s Symphony no. 39 and Beethoven’s Symphony No. 5. [35 marks] Section B – Picturing Music Answer one question. 4 Describe in detail how Berlioz suggests the presence of the ‘beloved’ in any two movements of Symphonie fantastique? [35 marks] 5 How does Smetana use the orchestra to suggest the scenes in Vltava? Refer to at least three scenes. [35 marks] 6 How does music suggest different night-time moods and scenes? Discuss examples from music of any period or tradition, but do not include detailed references to more than one of the Core Works. [35 marks] Section C Answer one question. 7 In what ways might music be considered ‘old’ or ‘new’? Support your answer with a range of examples. [30 marks] 8 Is ‘structure’ an important feature of a piece of music? Refer to examples from at least two periods or traditions to support your answer. [30 marks] 9 How have composers used orchestras in different ways? Refer to examples from at least two periods and/or traditions. [30 marks] 10 Who owns musical works? Refer to examples from at least two different periods or traditions. [30 marks]

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4 9703/13/M/J/18 © UCLES 2018 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 International Examinations Copyright Acknowledgements Booklet. This is produced for each series of examinations and is freely available to download at www.cie.org.uk after the live examination series. Cambridge International Examinations is part of the Cambridge Assessment Group. Cambridge Assessment is the brand name of University of Cambridge Local Examinations Syndicate (UCLES), which is itself a department of the University of Cambridge. BLANK PAGE

IGCSE™ is a registered trademark. This document consists of 6 printed pages. © UCLES 2018 [Turn over Cambridge Assessment International Education Cambridge International Advanced Level MUSIC 9703/13 Paper 1 Listening May/June 2018 MARK SCHEME Maximum Mark: 100 Published This mark scheme is published as an aid to teachers and candidates, to indicate the requirements of the examination. It shows the basis on which Examiners were instructed to award marks. It does not indicate the details of the discussions that took place at an Examiners’ meeting before marking began, which would have considered the acceptability of alternative answers. Mark schemes should be read in conjunction with the question paper and the Principal Examiner Report for Teachers. Cambridge International will not enter into discussions about these mark schemes. Cambridge International is publishing the mark schemes for the May/June 2018 series for most Cambridge IGCSE™, Cambridge International A and AS Level and Cambridge Pre-U components, and some Cambridge O Level components.

9703/13 Cambridge International A Level – Mark Scheme PUBLISHED May/June 2018 © UCLES 2018 Page 2 of 6 Generic Marking Principles These general marking principles must be applied by all examiners when marking candidate answers. They should be applied alongside the specific content of the mark scheme or generic level descriptors for a question. Each question paper and mark scheme will also comply with these marking principles. GENERIC MARKING PRINCIPLE 1: Marks must be awarded in line with: • the specific content of the mark scheme or the generic level descriptors for the question • the specific skills defined in the mark scheme or in the generic level descriptors for the question • the standard of response required by a candidate as exemplified by the standardisation scripts. GENERIC MARKING PRINCIPLE 2: Marks awarded are always whole marks (not half marks, or other fractions). GENERIC MARKING PRINCIPLE 3: Marks must be awarded positively: • marks are awarded for correct/valid answers, as defined in the mark scheme. However, credit is given for valid answers which go beyond the scope of the syllabus and mark scheme, referring to your Team Leader as appropriate • marks are awarded when candidates clearly demonstrate what they know and can do • marks are not deducted for errors • marks are not deducted for omissions • answers should only be judged on the quality of spelling, punctuation and grammar when these features are specifically assessed by the question as indicated by the mark scheme. The meaning, however, should be unambiguous. GENERIC MARKING PRINCIPLE 4: Rules must be applied consistently e.g. in situations where candidates have not followed instructions or in the application of generic level descriptors. GENERIC MARKING PRINCIPLE 5: Marks should be awarded using the full range of marks defined in the mark scheme for the question (however; the use of the full mark range may be limited according to the quality of the candidate responses seen). GENERIC MARKING PRINCIPLE 6: Marks awarded are based solely on the requirements as defined in the mark scheme. Marks should not be awarded with grade thresholds or grade descriptors in mind.

9703/13 Cambridge International A Level – Mark Scheme PUBLISHED May/June 2018 © UCLES 2018 Page 3 of 6 Section A General observations: many candidates may address some questions obliquely only by giving detailed, consecutive commentaries, or by giving parallel commentaries in comparison questions, not making similarities and differences explicit. In themselves, these may demonstrate the level of familiarity with the music, which be acknowledged accordingly in the mark. Where commentaries do not explicitly engage with specific features, and are overloaded with surface features of no particular relevance, the highest mark bands will not be accessible. Question Answer Marks 1 Write a detailed commentary on the second movement of Haydn’s Trumpet Concerto. This is a straightforward question, and differentiation will depend on the level of detail that candidates can supply. Reference could be made to examples of repetitions and changes in the main theme, the different textures at play, and orchestration (technical terms are not required so long as the candidate can describe recognisably in words what is happening in the piece). Refer to the Band Descriptors and standardisation scripts in arriving at your mark 35 Question Answer Marks 2 How does Beethoven vary texture in the third movement of his Clarinet Trio? Refer to at least three variations. Candidates will need to show close familiarity with the music. Possible points are: • The two-part counterpoint in Variation II • Broken chords accompanying virtuosic scales in Variation III • Triple-stopping in Variation V • Call-and-answer in Variation VI • Piano octaves and canon/imitation in Variation IX • Examples of homophony Better-informed candidates will be able to comment in more detail on changes of texture within each variation. Refer to the Band Descriptors and standardisation scripts in arriving at your mark 35

9703/13 Cambridge International A Level – Mark Scheme PUBLISHED May/June 2018 © UCLES 2018 Page 4 of 6 Question Answer Marks 3 Compare the third movements of Mozart’s Symphony no. 39 and Beethoven’s Symphony No. 5. Candidates should be credited for statements that show familiarity with the music of the movements. Points could include: • Structure (Menuet and Trio vs Scherzo and Trio) • Both in triple time • The link at the end of Beethoven’s 3rd movement to the 4th • Comparison of orchestration (including the rescoring of Beethoven’s repeat of the Scherzo, and the use of two clarinets in Mozart’s Trio) Refer to the Band Descriptors and standardisation scripts in arriving at your mark 35 Question Answer Marks 4 Describe in detail how Berlioz suggests the presence of the ‘beloved’ in any two movements of Symphonie fantastique? Candidates should be able to identify times when the idée fixe (any clear description is sufficient) appears in the movements, describe which instrument(s) play it, and place it in the musical context. The idée fixe appears twice in Un bal. Similarly, the Scène aux champs is interrupted by the idée, and its quotation in Marche au supplice is somewhat macabre. Refer to the Band Descriptors and standardisation scripts in arriving at your mark 35 Question Answer Marks 5 How does Smetana use the orchestra to suggest the scenes in Vltava? Refer to at least three scenes. There are 7 scenes to choose from, and candidates simply need to select three with which they are very familiar. Most candidates are likely to discuss The source, in which two flutes represent the waters converging and almost ‘bubbling’. The use of horns for the Hunt in the Woods and the woodwinds in Dance of the Nymphs are also good examples. Refer to the Band Descriptors and standardisation scripts in arriving at your mark 35

9703/13 Cambridge International A Level – Mark Scheme PUBLISHED May/June 2018 © UCLES 2018 Page 5 of 6 Question Answer Marks 6 How does music suggest different night-time moods and scenes? Discuss examples from music of any period or tradition but do not include detailed references to more than one of the Core Works Orchestral programmatic works would be the obvious choice, and candidates who play piano might discuss Nocturnes, for example. Candidates will need to convincingly describe night-time moods or scenes. The question precludes detailed discussion of more than one core work, but others may be mentioned in passing. Refer to the Band Descriptors and standardisation scripts in arriving at your mark 35 Question Answer Marks 7 In what ways might music be considered ‘old’ or ‘new’? Support your answer with a range of examples. The question could be successfully answered from a variety of angles. Candidates might refer to recently composed music and juxtapose that with music that is no longer quite as current. Others might view ‘Classical’ music as ‘old’ and Pop Music as ‘new’; whatever the approach, the balance of the argument and the range of examples offered will differentiate responses. Refer to the Band Descriptors and standardisation scripts in arriving at your mark 30 Question Answer Marks 8 Is structure an important feature of a piece of music? Refer to examples from at least two periods or traditions to support your answer. Candidates could refer to Classical forms, such as Sonata, Variation, Rondo, etc., giving examples of these to support statements. Equally, they might discuss pop music, verse-chorus form, bridges, etc. Phrase structure might also be mentioned, and the effect of regular or irregular phrase lengths. A discussion of the importance of structure is vital, whether they argue that structure gives music meaning and makes it more assimilable, or that structure is an unnecessary constraint. Refer to the Band Descriptors and standardisation scripts in arriving at your mark 30

9703/13 Cambridge International A Level – Mark Scheme PUBLISHED May/June 2018 © UCLES 2018 Page 6 of 6 Question Answer Marks 9 How have composers used orchestras in different ways? Refer to examples for at least two periods and/or traditions. Possible use of the orchestra could be: supporting a soloist, in antiphony, with added instruments, or in unusual ways. Modern day uses are also valid, such as film music, video games and pop composers using orchestras/orchestral instruments to create particular atmospheres in their music. Reference might also be made to Chinese Orchestras, or Gamelan Orchestras, and how these are used, including when they are mixed with Western instruments. Candidates might focus on the music itself or instrumental combinations – both are valid. Refer to the Band Descriptors and standardisation scripts in arriving at your mark 30 Question Answer Marks 10 Who owns musical works? Refer to examples from at least two different periods or traditions. Responses might include an awareness of copyright laws. Publishers have not always been helpful in this regard. Candidates might show an awareness of the issues that composers face in trying to protect their intellectual property. Some candidates may argue that technology has enabled the sharing of creative work, and that this should not be restricted. Reference to platforms like YouTube, for example, are likely. Oral traditions and the concept of collective ownership might also be discussed. Differentiation will rest upon the variety of issues discussed and the relevance of examples. Refer to the Band Descriptors and standardisation scripts in arriving at your mark 30