Cambridge IGCSE Music 0410 — 2018 Oct/Nov Paper 1 · Variant 3

This document consists of 15 printed pages, 1 blank page and 1 Insert. DC (NH/SG) 144406/3 © UCLES 2018 [Turn over * 4 7 5 4 4 5 9 8 5 7 * MUSIC 0410/13 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. Cambridge International Examinations Cambridge International General Certificate of Secondary Education

2 0410/13/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 of music for voice and instruments. The words (about a bird) are printed below. Read through questions 1 to 4. 1 Say the nights are warm and free, 2 And the great stars swarm above him; 3 But soon starless night must be. 4 Yet if all these do not move him, 5 Tell, O tell – but not too plainly! – 6 That I long for him and love him. 1 Which of the following best describes the melodic shape of line 1? The melody mostly ascends by leap The melody mostly ascends in steps The melody mostly descends by leap The melody mostly descends in steps [1] 2 (a) This piece is for voice, string orchestra and another solo instrument. Name the solo instrument. … [1] (b) The music of the solo instrument represents the bird. What features of the music played by this solo instrument suggest a bird? … … …[2] 3 What technique does the composer use to set the word ‘love’ in line 6? Melisma Ostinato Parallel motion Sequence [1]

3 0410/13/O/N/18 © UCLES 2018 [Turn over 4 This music displays characteristics of both late-nineteenth-century and early-twentieth-century styles. In the table below, briefly identify some of these features. Nineteenth-century features … … Twentieth-century features … … [3]

4 0410/13/O/N/18 © UCLES 2018 Music A2 You will hear an extract from an instrumental piece. Look at the skeleton score below and read through questions 5 to 8. Dynamic marking? Instrument? Texture? 1 2 3 4 5 6 7 8 9 Extract continues... 10 11 12 13 14 15 16 17 18 19 24 & & œ™ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ ˙ œ™œ œ œ œ œ œ œ™œ œ ˙ ˙ ˙ 5 What Italian dynamic marking would be appropriate for the introduction? …[1] 6 (a) Which instrument plays the printed melody from bar 5? … [1] (b) What is the texture in bars 5–19? … [1] 7 After the printed music the melody is played twice more. (a) Describe the changes when it is played for the second time. … … …[2] (b) Describe the changes when it is played for the third time. … … …[2]

5 0410/13/O/N/18 © UCLES 2018 [Turn over 8 Who composed this music? Bach Borodin Mozart Reich [1]

6 0410/13/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 instruments. Look at the skeleton score below and read through questions 9 to 11. Instrument? Instrument? 1 2 3 4 5 6 7 8 44 &## &## Extract continues... œ œ œ œ œ œ œ œ œ œj œ œj œ™ œJ œ œ œ œ œ œ œ œj œ œj ˙ œj œ œj œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ 9 Name the instrument which plays the printed melody. … [1] 10 (a) What instrument enters in bars 2 and 4? … [1] (b) Describe precisely what this instrument plays in relation to the melody played by the first instrument. … … … …[3] 11 Where does this music come from? … [1]

7 0410/13/O/N/18 © UCLES 2018 [Turn over Music B2 You will hear an extract from a piece for instruments. Read through questions 12 to 14. 12 (a) Name the first instrument that plays. … [1] (b) Which of the following best describes what is first played by this instrument? A descending major arpeggio A descending minor arpeggio A descending major scale A descending minor scale [1] 13 What different instrument joins later in the extract? … [1] 14 (a) Where does this music come from? … [1] (b) What features of this music (apart from the instruments used) are typical of music from this part of the world? … … …[2]

8 0410/13/O/N/18 © UCLES 2018 Music B3 (World Focus: Latin America) You will hear an extract from a Tango. Read through questions 15 to 17. 15 (a) What instrument is playing the melody at the start of the extract? … [1] (b) Describe in detail how this instrument is played. … … … …[3] 16 (a) Which other instrument can be heard? … [1] (b) This instrument often plays ‘marcado’. What does this mean? … …[1] 17 What other features of the extract are typical of Tango? … … … … …[4]

9 0410/13/O/N/18 © UCLES 2018 [Turn over BLANK PAGE

10 0410/13/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 piece for instruments. Look at the skeleton score, which you will find in the separate Insert, and read through questions 18 to 24. Answer the questions in this question paper. 18 Name the bracketed interval in bar 1. … [2] 19 The melody is incomplete in bars 17–18. Fill in the missing notes on the stave below. The rhythm has been given to help you. 17 18 19 &# œ œ œ œ œ œ œ œ œ œ œ# ™ œ œ [3] 20 (a) Name the key and cadence in bars 27–28. Key: … Cadence: … [2] (b) What is the relationship of this key to the tonic key of the extract? … [1] 21 What compositional device is used by the melody instrument in bars 30–31? …[1] 22 What is the structure of the extract? … [1]

11 0410/13/O/N/18 © UCLES 2018 [Turn over 23 (a) Which of the following best describes the extract? March Minuet Theme and variations Waltz [1] (b) Give a reason for your answer. … …[1] 24 (a) Which period of music is this extract from? … [1] (b) Give three reasons for your answer. … … … …[3]

12 0410/13/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 25 to 35) or Bach: Brandenburg Concerto No. 1 (questions 36 to 43). 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 25 to 30. 25 (a) What part of the recapitulation begins at the start of the extract? …[1] (b) How has this changed from when it was first heard in the exposition? … … …[2] 26 What instrument plays the printed melody from bar 15? …[1] 27 What melodic device is heard in bars 19–22? …[1] 28 Which harmonic device is heard from bars 23–30? Circle of fifths Dominant pedal Ground bass Tonic pedal [1]

13 0410/13/O/N/18 © UCLES 2018 [Turn over 29 What theme is heard next in the movement (immediately after the recorded extract)? …[1] 30 In which city was Mendelssohn’s Italian Symphony first performed? …[1]

14 0410/13/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 35. 31 Write the viola part in bar 10 in the treble clef on the stave below. 10 &### [2] 32 Briefly describe the texture and orchestration from bars 13–43. … … …[2] 33 What happens to the key in bars 41–47? … …[1] 34 What theme is suggested by the woodwind and horns from bar 45? …[1] 35 (a) From which section of the first movement is this extract taken? … [1] (b) What did Mendelssohn do that was relatively unusual here? … …[1]

15 0410/13/O/N/18 © UCLES 2018 [Turn over 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 36 to 38. 36 (a) When describing the structure of this movement, what name is given to the section of music which is played in bars 1–5? … [1] (b) How is this section different from the first time it was played in the movement (before the recorded extract)? … … …[2] 37 (a) In what order do the instruments play the melody in bars 6–9? Horns, violins, oboes Horns, oboes, violins Oboes, horns, violins Oboes, violins, horns [1] (b) Describe the texture of the music in these bars. … … …[2] 38 The music in bars 12 and 14 was originally written for a violino piccolo. In what ways was this instrument different from a modern violin? … … … …[2]

16 0410/13/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. Music D4 Look at the skeleton score, which you will find in the separate Insert, and read through questions 39 to 43. 39 At the beginning of the extract, the horn and violino piccolo are featured as concertino soloists. What name is given to the accompanying oboes, violins and violas? … [1] 40 On the stave below, write out the first two notes of the horn part in bar 2 at sounding pitch. The key signature has been given. [2] 41 Name the key and cadence in bars 10–11. Key: … Cadence: … [2] 42 What is the tempo marking of bars 13–14? … [1] 43 Briefly describe the structure of the movement as a whole, and explain how the recorded extract fits into this structure. … … …[2]

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 0410/13 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.

0410/13 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.

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2018 © UCLES 2018 Page 3 of 6 Question Answer Marks 1 The melody mostly descends in steps 1 2(a) Flute 1 2(b) Trills / ornaments [1] (Fast) scales / broken chords (accept glissandos) [1] High (pitch) [1] 2 3 Melisma 1 4 Nineteenth-century features e.g. Chromaticism, passages of lyrical melody, violins doubling voice, long legato passages, rich chords, rich orchestration, accept large dynamic contrasts Twentieth-century features e.g. Dissonance, chromaticism, wide leaps / angular melody, large dynamic contrasts, use of free tempo / fluctuations in tempo, instrumental effects Valid points made in both categories [3] Some correct features in either/both [2] 1 or 2 correct elements identified [1] No creditable answer [0] 3 5 Piano / p / pianissimo / pp 1 6(a) Clarinet 1 6(b) Homophonic / melody and accompaniment 1 7(a) It is in a different key (accept it is lower) [1] The melody is played by brass / horns (accept trombones, etc.) [1] The melody is changed at the end / it is slightly longer / the first phrase is repeated [1] 2 7(b) The full orchestra play (accept more instruments play) [1] It is loud [1] It is in the original (accept another) key [1] The end is changed as before [1] It is more detached [1] 2 8 Borodin 1 9 Erhu 1 10(a) Dizi (accept hsaio, ti-tzu) 1 10(b) It echoes / repeats the erhu melody (accept canon) [1] one octave higher [1], one bar later [1] and then plays a trill [1]. At the end it plays the melody / with the erhu / they play (the melody) together [1] an octave higher (if not already credited) [1]. 3 11 China 1

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2018 © UCLES 2018 Page 4 of 6 Question Answer Marks 12(a) Kora 1 12(b) A descending major scale 1 13 Xylophone / balafon 1 14(a) Africa 1 14(b) The use of repeated patterns / ostinato [1] Cross rhythms / polyrhythms / interlocking [1] The instruments join in one by one [1] Credit any description of how the xylophone is played (e.g. repeated notes, glissandi) [1] 2 15(a) Bandoneon (not accordion) 1 15(b) Right hand buttons play the melody [1] Left hand buttons play chords [1] OR It is played by pressing buttons [1] The bellows are pushed and pulled / the air is compressed [1] The air passes through free metal reeds [1] 3 16(a) Piano 1 16(b) Playing notes on the beat / in time / not syncopated 1 17 Minor key [1] 2/4 or 4/4 time [1] It is syncopated [1] There is contrast of legato and staccato [1] The melodic line is elaborated [1] There is use of glissando / portamento [1] Contrasting dynamics [1] There is a vocal part [1] 4 18 Minor [1] sixth [1] (mark for minor only if sixth is correct) 2 19 Entirely or almost completely correct [3] A reasonable attempt but too many errors for full marks [2] A few correct notes OR general melodic shape reproduced [1] Little melodic accuracy [0] 3 20(a) Key: G major Cadence: Perfect 2 20(b) Relative major (accept median) 1 21 Repetition 1

0 © 0410/13 © UCLES 2018 Question 22 23(a) 23(b) 24(a) 24(b) 25(a) 25(b) 26 27 28 29 30 31 32 33 34 35(a) 35(b) 36(a) Binary / A Minuet Triple time Baroque Presence Continuou Much use Many orna Simple / d Terraced d 2nd subjec The melod clarinet an It is in the The end o The contin clarinet ins (1st) violin (Ascendin Dominant The devel London One mark Imitative / Strings on Eventually It is (B) mi First subje The devel He introdu Ritornello C B / AA1 e / moderate of harpsich usly moving of sequenc aments [1] iatonic harm dynamics [1 ct (accept 2 dy is now pl nd bassoon tonic instea of the melod nuous quav stead of 2nd n(s) g) sequenc pedal opment / th per note contrapunt nly [1] y in five part inor and (B) ect (accept opment uced a new Cambridge P e tempo hord / (basso bass line [1 ce / repetitio mony [1] 1] 2nd theme) layed by ce [1] ad of the do dy has chan er accompa d violins an ce hird theme al / polypho ts [1] ) major / it is 1st theme) theme IGCSE – M PUBLISHED Page 5 of 6 Answer o) continuo 1] on [1] ellos (and vio ominant [1] nged [1] animent is n nd violas. [1] onic / fugato s a modal s Mark Schem D r (accept lut olas) rather now played ] o [1] shift e e) [1] r than wood by (1st) flut Octobe dwind / te and (1st) er/Novembe 201 Marks 1 1 1 1 3 1 ) 2 1 1 1 1 1 2 2 1 1 1 1 1 er 18 s 1 1 1 1 3 1 2 1 1 1 1 1 2 2 1 1 1 1 1

0 © 0410/13 © UCLES 2018 Question 36(b) 37(a) 37(b) 38 39 40 41 42 43 It is in C m sequence Horns, obo The melod above the It was sma [1]. It was Ripieno One mark Key: G mi Cadence: Adagio It is in ritor [1] OR it is / beginning C major / the d is added [1 oes, violins dy instrume basso cont aller [1] and a transpos per note nor [1] Perfect [1] rnello form s in ternary g of the rec Cambridge P dominant [1] 1]. nts play in t tinuo / bass d the strings ing instrume [1] and this / da capo fo capitulation IGCSE – M PUBLISHED Page 6 of 6 Answer ]. The horns thirds / sixth s line [1]. Th s were tuned ent [1]. Acc is episodes orm [1] and [1] Mark Schem D r s don’t play hs (accept p here is no ri d a minor th cept higher p s three and this is the e e y [1]. It is sh pairs / harm pieno part [ hird higher / pitch (not hi four (accep end of the m Octobe orter [1]. A mony) [1] [1] / differently igher notes pt an episod middle sect er/Novembe 201 Marks 2 1 2 ) 2 1 2 2 1 de) ion 2 er 18 s 2 1 2 2 1 2 2 1 2