Cambridge A Level Music 9703 — 2019 May/June Paper 1 · Variant 3

This document consists of 2 printed pages, 2 blank pages and 1 insert. DC (LK) 163358/2 © UCLES 2019 [Turn over Cambridge Assessment International Education Cambridge International Advanced Subsidiary and Advanced Level * 6 0 6 2 1 2 5 5 4 7 * MUSIC 9703/13 Paper 1 Listening May/June 2019 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.

2 9703/13/M/J/19 © UCLES 2019 Answer one question from each Section. Do not repeat points that you make in one Section in answer to a question in another Section. Section A – The ‘First Viennese School’ 1770–1827 Answer one question. 1 Write a detailed commentary on the Theme and any three of the variations in Beethoven’s Clarinet trio, movement III. [35 marks] 2 Discuss the relationship between trumpet and orchestra in the first movement of Haydn’s Trumpet Concerto. [35 marks] 3 Compare the melodic uses of instruments in at least one movement from Mozart’s Symphony no. 39 and one from Beethoven’s Symphony no. 5. Select significant examples for your answer. [35 marks] Section B – Picturing Music Answer one question. 4 How does Smetana use dynamics to contribute to the depiction of scenes in Vltava? [35 marks] 5 How do composers suggest an effective contrast between light and dark in music about ‘night’? Refer to one Core and one non-Core Work in your answer. [35 marks] 6 Explain how the artist’s changing feelings towards his ‘beloved’ are represented by the music of the second, third and fourth movements of Berlioz’s Symphonie fantastique. [35 marks] Section C Answer one question. 7 What features of a musical work might make it popular? Refer to examples from both the ‘First Viennese School’ and the 21st century. [30 marks] 8 Can music be successful using a small number of musical ideas? Discuss examples from a range of traditions. [30 marks] 9 How has the development of modern technology affected performers’ interpretations of music? [30 marks] 10 Describe the construction of one orchestral woodwind instrument of your choice, and give examples of some of its different roles in the Prescribed and Core Works. [30 marks]

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4 9703/13/M/J/19 © UCLES 2019 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 the Cambridge Assessment Group. Cambridge Assessment is the brand name of the University of Cambridge Local Examinations Syndicate (UCLES), which itself is a department of the University of Cambridge. BLANK PAGE

This document consists of 6 printed pages. © UCLES 2019 [Turn over Cambridge Assessment International Education Cambridge International Advanced Level MUSIC 9703/13 Paper 1 Listening May/June 2019 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 2019 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 2019 © UCLES 2019 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 2019 © UCLES 2019 Page 3 of 6 Question Answer Marks Section A General observations: many candidates may address the task obliquely by giving parallel commentaries that lack direct engagement with significant features and may not answer the question explicitly. In themselves, these may demonstrate a good level of familiarity with the music, which should be acknowledged accordingly in the mark. Where commentaries are overloaded with surface features of no particular relevance, the highest mark bands will not be accessible. 1 Write a detailed commentary on the Theme and any three of the variations in Beethoven’s Clarinet trio, movement III. The theme sees the piano take the lead, with the cello providing broken chord accompaniment, and the clarinet alternating between supporting harmony and melodic snatches. Candidates should also clearly articulate the structure of the theme, possibly referring to antecedent and consequent phrases. The second variation is started by the cello, which then supports the clarinet when it takes over. The fourth variation sees a conversation between the piano followed by clarinet and cello in harmony (and sometimes unison). The sixth variation has a notable, descending exchange of thematic material. The ninth variation features a canonic conversation between cello and clarinet. Descriptions of the coda are not directly relevant to the question, although they might add to evidence of familiarity with the music in general. Refer to the Band Descriptors and the standardisation scripts in arriving at your mark. 35 2 Discuss the relationship between trumpet and orchestra in the first movement of Haydn’s Trumpet Concerto. Aside from the obvious observation that the trumpet is the soloist, better informed candidates will be able to describe in detail the back and forth of the soloist and orchestra. Candidates should highlight where the soloist takes the lead, with the orchestra merely accompanying, when there is more immediate ‘conversation’ between the two, and when the soloist plays a more supporting role to the orchestra. Refer to the Band Descriptors and the standardisation scripts in arriving at your mark. 35

9703/13 Cambridge International A Level – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 4 of 6 Question Answer Marks 3 Compare the melodic uses of instruments in at least one movement from Mozart’s Symphony no. 39 and one from Beethoven’s Symphony no. 5. Select significant examples for your answer. The most notable melodic use of instruments in Mozart lie in the third movement’s trio (although there is also some arguably valid wind writing in the second movement as well). Beethoven’s use of the oboe as a soloist in his first movement is notable, as is the horn call in the third movement and the more melodic role played by lower strings. Instances of such writing should be clearly located and described. Refer to the Band Descriptors and the standardisation scripts in arriving at your mark. 35 Section B 4 How does Smetana use dynamics to contribute to the depiction of scenes in Vltava? At a basic level, most candidates should be able to point to louder and softer sections and what they represent (e.g. the loud hunt, which fades towards the equally loud country wedding, and the softer music of the nymphs, or the tumultuous rapids). To access the higher bands, more detail and nuance will be required, highlighting contrasts as well as low and high points in the music, all linked to the depiction of the relevant scene. References to musical features, such as instrumental techniques, timbre, range, etc., coupled with dynamics are valid. Refer to the Band Descriptors and the standardisation scripts in arriving at your mark. 35 5 How do composers suggest an effective contrast between light and dark in music about ‘night’? Refer to one Core and one non-Core Work in your answer. Candidates might refer to the Nymphs in Vltava (the shimmering of the moonlight against the dark, yet calm undercurrents) or Clair de lune (perhaps referring to the wide range and stillness). The choice of non-Core work will depend upon wider listening, but should carefully consider and balance the two ‘sides’ of night-time prompted by this question, going beyond the basic approach of low = dark vs high = light; aspects referred to might include (but are not limited to) harmony, timbral contrasts and texture. Refer to the Band Descriptors and the standardisation scripts in arriving at your mark. 35

9703/13 Cambridge International A Level – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 5 of 6 Question Answer Marks 6 Explain how the artist’s changing feelings towards his ‘beloved’ are represented by the music of the second, third and fourth movements of Berlioz’s Symphonie fantastique. To answer the question fully, candidates will need to place the ‘idée fixe’ and its yearning nature in a broader musical context, for example: • The presence of the waltz theme in the background of the first idée fixe in the second movement, and its absence in the second appearance. • The disruptive influence of the idée fixe on the pastoral calm of the third movement. • The truncated presentation in the fourth movement and the representation of the execution. The level of detail in musical descriptions and the candidate’s understanding of the artist’s feelings at each point will discriminate between responses. Refer to the Band Descriptors and the standardisation scripts in arriving at your mark. 35 Section C 7 What features of a musical work might make it popular? Refer to examples from both the ‘First Viennese School’ and the 21st century. Music that was popular in the late 18th century is not necessarily popular today, and equally, audiences back then would not have understood some more modern music. An appreciation of this, as well as some understanding of the features of today’s popular music, is required to access the higher bands. Some candidates might legitimately go further to suggest what might make a musical work unpopular or unpalatable, and indeed what external factors help music to become popular. Refer to the Band Descriptors and the standardisation scripts in arriving at your mark. 30 8 Can music be successful using a small number of musical ideas? Discuss examples from a range of traditions. Some candidates will likely go for ‘yes’ and leave it there with little supporting evidence. A more nuanced response might take account of the lack of variety in some popular music styles, or the repetitiveness of some dance music or minimalist styles. Indian classical music uses a limited set of pitches, for example. Does this lack of variety make the music less successful, or are they evidence that variety is unnecessary? Refer to the Band Descriptors and the standardisation scripts in arriving at your mark. 30

9703/13 Cambridge International A Level – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 6 of 6 Question Answer Marks 9 How has the development of modern technology affected performers’ interpretations of music? The focus should be on the effect of technology on interpretation. The advent of recording technology particularly should be considered; performers have access to a wide range of interpretations, which might affect their own. They can also listen back to their interpretations and make adjustments. Some artists might choose to use amplification in their performances, or even electronic instruments – this significantly affects the quality of sound. Equally, candidates might opt to explore how technology has not affected interpretation, citing performers aiming for authentic performances, eschewing modern developments. Refer to the Band Descriptors and the standardisation scripts in arriving at your mark. 30 10 Describe the construction of one orchestral woodwind instrument of your choice, and give examples of some of its different roles in the Prescribed and Core Works. There are examples of the use of woodwind instruments in many of the works for Sections A and B. Most prominently, the clarinet features in Beethoven’s Clarinet Trio and in the trio of Mozart’s third movement in Symphony no. 39. The bassoon is used notably in Marche au supplice (Berlioz), and the flute at various points in Vltava. Whichever instrument is chosen, its construction should be described in detail, and pertinent examples of leading and supporting roles drawn from the repertoire. Refer to the Band Descriptors and the standardisation scripts in arriving at your mark. 30