Cambridge IGCSE Music 0410 — 2018 Oct/Nov Paper 1 · Variant 1

* 3 0 4 1 2 7 3 0 0 9 * This document consists of 13 printed pages, 3 blank pages and 1 Insert. DC (NH/CGW) 174315 © UCLES 2018 [Turn over Cambridge International Examinations Cambridge International General Certificate of Secondary Education MUSIC 0410/11 Paper 1 Listening October/November 2018 Approx. 1 hour 15 minutes Candidates answer on the Question Paper. No Additional Materials are required. READ THESE INSTRUCTIONS FIRST Write your Centre number, candidate number and name on all the work you hand in. Write in dark blue or black pen. You may use an HB pencil for any diagrams, graphs, music or rough working. Do not use staples, paper clips, glue or correction fluid. DO NOT WRITE IN ANY BARCODES. Answer all questions in Sections A, B and C. In Section D, answer all the questions on the one set work you have studied. In the Insert, you will find the skeleton scores for Music C1 and your chosen set work in Section D. For each question, tick (3) one of the boxes to show the most appropriate answer, or write your answer in the space provided. There will be time for you to look at the questions before you hear each extract of music. You may find it helpful to make notes on the music as you listen. Write your answers in this Question Paper booklet. 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. This syllabus is approved for use in England, Wales and Northern Ireland as a Cambridge International Level 1/Level 2 Certificate.

2 0410/11/O/N/18 © UCLES 2018 SECTION A [16 marks] You will hear two examples of music, selected from the Baroque, Classical or Romantic periods or the Twentieth Century. Each extract will be played four times, with a pause between each playing. Music A1 You will hear an extract from a piece for a solo voice and instruments. The words are given below. Read through questions 1 to 4. 1 Midnight’s bell goes ting, ting, ting, ting, ting, 2 Then dogs do howl, and not a bird does sing 3 But the nightingale, and she cries twit, twit, twit, twit, twit; 4 Owls then on every bough do sit; 5 Ravens croak on chimneys’ tops. 1 What type of voice is heard? … [1] 2 Describe the melodic shape of line 1. … …[2] 3 How does the music help to suggest the scene at midnight? … … … …[2] 4 (a) When was this music written? … [1] (b) Give two reasons for your answer. … …[2]

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4 0410/11/O/N/18 © UCLES 2018 Music A2 You will hear an extract of music for instruments. The skeleton score below shows the opening section of a longer extract. Read through questions 5 to 8. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 34 &b &b &b Extract continues... œ œ ˙ œ ˙ œ ˙ œ ˙™ œ œ œ œ œ œ ‰ œJ œ œ œ# œ œ œ œ ‰ œj œ ˙ œ ˙ œ ˙ # œ ˙™ œ œ œ œ œ œ ˙ œ œ Œ 5 Briefly describe the texture and instrumentation of the printed section. … … … … …[3] 6 What is the structure of the extract as a whole? … [1]

5 0410/11/O/N/18 © UCLES 2018 [Turn over 7 (a) What type of piece is this? Concerto March Minuet Waltz [1] (b) Give two reasons for your answer. … … …[2] 8 Who composed this music? Haydn Strauss Stravinsky Vivaldi [1]

6 0410/11/O/N/18 © UCLES 2018 SECTION B [22 marks] You will hear three extracts of music from around the world. Each extract will be played four times, with a pause between each playing. Music B1 You will hear an extract from a piece for voices and instruments. Read through questions 9 to 11. 9 Describe the music of the introduction (until the entry of the voices). … … … …[2] 10 Describe the music after the voices start singing. … … … … …[3] 11 Where does this music come from? … [1]

7 0410/11/O/N/18 © UCLES 2018 [Turn over Music B2 You will hear an extract from an instrumental piece. Look at the skeleton score below, and read through questions 12 to 14. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 24 & & ˙ œ œ ˙ œ œ ˙ œ™ œJ ˙ œ œ œ œ ˙ ˙ œ™œ œb ˙ œ œ ˙ œ™ œj ˙ ˙ 12 (a) What wind instrument plays the printed melody? … [1] (b) Briefly describe the way the instrument plays the melody. … … …[2] 13 Briefly describe the texture of the music, referring to bar numbers as appropriate. … … … …[2] 14 Where does this music come from? … [1]

8 0410/11/O/N/18 © UCLES 2018 Music B3 (World Focus: Latin America) You will hear an extract from a Tango. Read through questions 15 to 18. 15 What features of the music in the short introduction are typical of Tango? … … …[2] 16 (a) What instrument plays the main melody after the short introduction? … [1] (b) How is the sound produced on this instrument? … …[2] 17 As the music continues, explain what features of the melody and the way it is played are typical of Tango. Do not repeat any information already given in your answers. … … … … …[4] 18 Where did Tango first become popular? Buenos Aires Havana New Orleans Rio de Janeiro [1]

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10 0410/11/O/N/18 © UCLES 2018 SECTION C [16 marks] You will hear one extract of music. The extract will be played four times, with a pause between each playing. Music C1 You will hear an extract from a theme and variations for instruments. The skeleton score contains the theme. Look at the skeleton score, which you will find in the separate Insert, and read through questions 19 to 27. Answer the questions in this booklet. 19 Suggest a suitable Italian tempo marking for the theme. … [1] 20 The extract begins with chord I (tonic) in bar 1. In which bar is chord I next heard? 2 3 4 [1] 21 Name the bracketed interval in bar 5. … … [2] 22 (a) What key does the music modulate to by bar 8? … [1] (b) What is the relationship of this key to the tonic key of the extract? … [1] 23 How is the accompaniment different when the first 8 bars repeat? … …[1]

11 0410/11/O/N/18 © UCLES 2018 [Turn over 24 The melody is incomplete in bar 15. Fill in the missing notes on the stave below. The rhythm has been given to help you. (The same melody is heard in bar 17) [3] 25 After the printed theme has been played, the extract continues with the opening sections of two variations. Briefly describe each variation, explaining how the theme and accompaniment are varied. Variation 1: … … … Variation 2: … … … [4] 26 What type of ensemble is this? … [1] 27 When was this music written? … [1]

12 0410/11/O/N/18 © UCLES 2018 SECTION D [16 marks] Set Work Answer all the questions on one set work: either Mendelssohn: Italian Symphony (Movements 1 and 3) (questions 28 to 33) or Bach: Brandenburg Concerto No. 1 (questions 34 to 41). Mendelssohn: Italian Symphony (Movements 1 and 3) You will hear two extracts. Each extract will be played twice, with a pause between each playing. Music D1 Look at the skeleton score, which you will find in the separate Insert, and read through questions 28 to 30. 28 On the stave below, write the first two notes of the clarinet part in bar 8 at sounding pitch. The key signature has been given. &### [2] 29 (a) What section of the movement begins at bar 23? …[1] (b) Describe the main features of the music from bar 23 onwards. Refer in your answer to music from earlier in the movement. … … … … …[4] 30 What Italian term describes how the 1st violins play the notes in bars 42–44? …[1]

13 0410/11/O/N/18 © UCLES 2018 Music D2 Look at the skeleton score, which you will find in the separate Insert, and read through questions 31 to 33. 31 (a) From which part of the exposition is this extract taken? …[1] (b) What is the key of the music at the start of the extract? …[1] (c) How does this relate to the tonic key of the movement? …[1] 32 (a) Which instrument plays the printed melody from bars 15–22? … [1] (b) How is the melody doubled? … …[2] 33 The extract continues after the printed music, with the melody from bar 31. How has the music been changed? … … …[2] [Turn over

14 0410/11/O/N/18 © UCLES 2018 Bach: Brandenburg Concerto No. 1 You will hear two extracts. Each extract will be played twice, with a pause between each playing. Music D3 Look at the skeleton score, which you will find in the separate Insert, and read through questions 34 to 37. 34 What compositional device is heard in bars 6–7? … [1] 35 Comment on the rhythmic grouping in bars 12–16. … … …[2] 36 (a) On the stave below, write out the last two notes of the first horn part in bar 30 at sounding pitch. The key signature has been given. &b [2] (b) What is the relationship between the horn part and the violino piccolo in bars 30–34? …[1] 37 Briefly describe the structure of the movement as a whole, and explain how the recorded extract fits into this structure. … … …[2]

15 0410/11/O/N/18 © UCLES 2018 Music D4 Look at the skeleton score, which you will find in the separate Insert, and read through questions 38 to 41. 38 Describe the accompaniment in bars 1–4. … … …[2] 39 How are bars 25–28 different from the rest of the extract? … … … …[3] 40 What is the title of the movement from which this extract is taken? … [1] 41 How does the Trio II section of music which follows the printed extract in the full score (not heard in the recording) contrast with the extract? … … …[2]

16 0410/11/O/N/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

This syllabus is approved for use in England, Wales and Northern Ireland as a Cambridge International Level 1/Level 2 Certificate. This document consists of 6 printed pages. © UCLES 2018 [Turn over Cambridge Assessment International Education Cambridge International General Certificate of Secondary Education MUSIC 0410/11 Paper 1 Listening October/November 2018 MARK SCHEME Maximum Mark: 70 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 October/November 2018 series for most Cambridge IGCSE™, Cambridge International A and AS Level components and some Cambridge O Level components.

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 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.

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2018 © UCLES 2018 Page 3 of 6 Question Answer Marks 1 Tenor 1 2 Starts / ends with repeated notes [1], there is then an ascending interval (a third) [1]. Only 2 notes used [1]. 2 3 It is quiet [1] and slow [1]. The bell is played in the horn / voice repeated notes [1]. Credit ref. to bird noises [1]. 2 4(a) Twentieth Century 1 4(b) e.g. use of muted brass [1], chromatic / dissonant harmony [1], some dissonant / angular intervals [1], lack of a clear key / atonal [1] 2 5 The melody in bars 1–4 and 9–16 is played by cellos / violas and is accompanied by high flutes and triangle playing pairs of repeated notes. The answering phrase (bars 5–8) is played (one octave higher) by violins. The melody is doubled (in thirds / sixths / harmony) in bars 13–16. The overall texture is homophonic, with a light accompaniment underneath the melody. Main elements of texture AND instrumentation identified: 3 Some elements identified: 2 One or two correct elements: 1 No creditable answer: 0 3 6 ABA / Ternary 1 7(a) Waltz 1 7(b) 3/4 time / triple time / 3 beats in a bar [1]. Fast tempo (accept one beat per bar) [1]. Oom-cha-cha accompaniment / emphasis on 1st beat of bar [1]. (Emphasis on) melody / lyrical melody [1]. Legato melody with staccato accompaniment [1]. 2 8 Strauss 1 9 Percussion instruments / drums / shakers [1] play an ostinato / repeated pattern [1]. The shaker’s pattern changes at one point [1]. It is fast [1]. 2 10 Two voices sing [1] followed by the choir / group [1] in call and response (accept answer) style [1] in parallel motion / harmony / homophonic [1]. The response uses longer notes than the call [1]. Reference to high/low (female/male) [1] and reference to the ‘call’ voices continue during the response [1]. The ostinato continues as an accompaniment (accept instruments continue to be played) [1]. Choir repeats same music [1]. 3 11 Africa 1 12(a) Dizi 1 12(b) The tempo is slow / a little flexible / rubato [1]. There is use of vibrato / tremolo (accept shakes) [1] and trills / ornaments on some notes [1]. The B natural in bar 6 is slightly flat [1]. Legato [1] 2

0 © Q 0410/11 © UCLES 2018 Question 13 14 15 16(a) 16(b) 17 18 19 20 21 22(a) 22(b) 23 24 25 26 27 The melod occasiona counterme China Minor key [1]. Bandoneo Bellows (a are contro It is highly between le and (sudd Buenos Ai Andante / 4 Major [1] s F (major) Dominant The string Entirely or A reasona A few corr Little melo Variation 1 There are the bass [ Variation 2 passing no accompan octave low MAXIMUM String Qua Classical p C dy is usually al glissandi ( elody / 2nd [1]. Use of on accept push olled by butt y decorated egato and s en) speedin ires moderato sixth [1] (six s play pizzi r almost com able attempt rect notes O odic accurac 1: The melo repeated n 1]. There ar 2: The gaps otes, etc. [1 niment [1] in wer) [1]. M 3 marks fo artet period Cambridge P y played he (in the acco melody (sta the habane hed and pull ons [1] on b / mordents staccato pas ng up of / ch xth must be cato / pluck mpletely cor t but too ma OR melodic cy [0] ody is (an oc otes [1] in t re more not s in the melo ]. The mus n octaves [1 or each var IGCSE – M PUBLISHED Page 4 of 6 Answer eterophonica ompaniment arting in bar era rhythm ( led) [1] pum both keyboa [1]. There a ssages [1]. hanges in te correct to g ked rrect [3] any errors fo shape repr ctave) highe the middle o tes in the ac ody are ‘fille ic is more le ]. The bass riation Mark Schem D r ally [1] in oc t bars 1, 5 a r 4) [1]. (in the bass mp the air th ards. are large in (Sudden) c empo [1]. gain the ma or full mark roduced [1] er (but othe of the textur ccompanim ed in’ with lo egato [1]. T s line is mos e ctaves [1]. T and 17) [1]. s) [1]. Four b hrough reed tervals [1]. changes in d ark for major s [2] erwise ident re [1] and a ent / faster onger notes here is a co stly the sam Octobe There are There is a beats in a b ds [1] which Contrast dynamics [1 r) tical) [1]. arpeggios in notes [1]. s, turns, ountermelod me (but an er/Novembe 201 Mark bar 1] dy er 18 ks 2 1 2 1 2 4 1 1 1 2 1 1 1 3 4 1 1

0 © Q 0410/11 © UCLES 2018 Question 28 29(a) 29(b) 30 31(a) 31(b) 31(c) 32(a) 32(b) 33 34 35 36(a) 36(b) 37 38 39 40 The coda It combine It begins w wind instru The 1st vio second tim There is a Pizzicato ( 2nd subjec E (major) Dominant (First) flute In thirds [1 It is an oct bars 34–3 (Descendi Bach crea semiquave hemiola [1 [1]. One mark They play It is in ritor ternary / d The bass quavers [1 They are f the melody Polacca / C es elements with a domin uments [1] f olins play th me [1] dominant p (accept pizz ct e 1] by anothe tave lower [ 5 are repea ing) sequen ates cross-rh ers [1] so th 1] at the cad per note in imitation rnello form da capo form plays a ped 1]. forte / loude y [1] and st Polonaise / Cambridge P s of the minu nant sevent from the trio he minuet m pedal [1] z.) er flute [1] b [1] and play ated [1] nce hythms [1] b he music fee dence, wher (accept ca [1] and this m [1] and th dal / drone / er [1], detac art in the su / Poloinesse IGCSE – M PUBLISHED Page 5 of 6 Answer uet and trio th chord [1] o. melody [1], w by oboes [1] yed by just t by grouping els more lik re two bars anon) is the first is is the exp / F [1] and t ched / stacc ubdominant e Mark Schem D r o [1] and fanfare which the c ] in octaves the strings [ g the notes ke 3/4 than 6 of 6/8 soun ritornello an position / op he other str ato [1], hav t / B flat / dif e e rhythm [1] larinets join [1] 1]. The end in sets of fo 6/8 [1]; he a nd like three nd episode pening sect rings play co e a differen fferent key Octobe ] played by n in 3rds the d is changed our also uses e bars of 2/4 [1] OR it is tion [1]. ontinuous nt rhythm in [1]. er/Novembe 201 Mark e d / 4 in er 18 ks 2 1 4 1 1 1 1 1 2 2 1 2 2 1 2 2 3 1

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2018 © UCLES 2018 Page 6 of 6 Question Answer Marks 41 It is in 2/4 / duple time [1] and uses wind / ‘outdoor’ instruments only [1]. Three parts rather than four [1]. 2