Cambridge IGCSE Music 0410 — 2019 May/June Paper 1 · Variant 2

This document consists of 14 printed pages and 2 blank pages and 1 Insert. DC (LT/ST) 162607/3 © UCLES 2019 [Turn over Cambridge Assessment International Education Cambridge International General Certificate of Secondary Education * 8 2 0 5 8 2 3 1 6 9 * MUSIC 0410/12 Paper 1 Listening May/June 2019 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 the 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 regulated for use in England, Wales and Northern Ireland as a Cambridge International Level 1/Level 2 Certificate.

2 0410/12/M/J/19 © UCLES 2019 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 voices and orchestra. The words and a part-translation are given below. Read through questions 1 to 4. 1 Gloria in excelsis Deo, in excelsis Deo. [Glory to God in the highest] 2 Et in terra pax, in terra pax hominibus 3 Bonae voluntatis. [And peace on earth to all people.] 4 Laudamus te, benedicimus te, [We praise you, we bless you,] 5 Adoramus te, glorificamus te. [We adore you, we glorify you.] 6 Gratias agimus tibi, agimus tibi [We give you thanks] 7 Propter magnam, magnam gloriam tuam. [for your great glory.] [Instrumental section] [Voices return] 1 Which of the following best describes the melodic shape of line 1? Starts with an ascending interval then moves in leaps Starts with an ascending interval then moves by step Starts with a descending interval then moves in leaps Starts with a descending interval then moves by step [1] 2 How does the music at the beginning help to suggest the meaning of ‘Glory to God in the highest’? … … … [2]

3 0410/12/M/J/19 © UCLES 2019 [Turn over 3 How is the music different when the voices return after the instrumental section? … … … … [3] 4 (a) When was this music written? … [1] (b) Who composed it? Brahms Debussy Mozart Stravinsky [1]

4 0410/12/M/J/19 © UCLES 2019 Music A2 You will hear an extract from a piece for instruments. Read through questions 5 to 8. 5 Which instrument is heard first? Bass drum Snare drum Timpani Xylophone [1] 6 How many beats are there in each bar? … [1] 7 Suggest a suitable Italian tempo marking for this music. … [1] 8 (a) Explain what is meant by neo-classicism. … … … [2] (b) What features of the extract show that it is neo-classical? … … … … [3]

5 0410/12/M/J/19 © UCLES 2019 [Turn over 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 of music for instruments. Look at the skeleton score and read through questions 9 to 12. 44 & & Extract continues... ˙™ ≈œ œ œ ˙ ˙ ˙™ ‰ œ œ ˙™ Œ ˙™ ≈œ œ œ ˙ ˙ ˙™ ‰ œ œ ˙™ Œ 9 What key is the music in? A major A minor C major D minor [1] 10 Describe the texture of the music in the printed section. … … … [2] 11 What is the structure of the whole extract? … [1] 12 (a) Where does this music come from? … [1] (b) Name one instrument in the extract which is typical of music from this area. … [1]

6 0410/12/M/J/19 © UCLES 2019 Music B2 You will hear an extract from an instrumental piece. Read through questions 13 to 14. 13 (a) How many different pitches are heard in the melody in the first half of the extract? 3 4 6 7 [1] (b) What word describes the texture of this opening passage? … [1] 14 (a) What is the name of this type of music? … [1] (b) Where does it come from? … [1] (c) What features of the extract are typical of music from this area? … … … … [2]

7 0410/12/M/J/19 © UCLES 2019 [Turn over Music B3 (World Focus: China) You will hear an extract of Guangdong music. Read through questions 15 to 18. 15 Name and describe the instrument which plays the highest melodic part at the beginning of the extract. … … … [2] 16 Explain what is meant by ‘heterophonic texture’, referring to the music in this extract. … … … … [3] 17 What other features of the extract are typical of Chinese music? Do not repeat any information already given in your answers. … … … … [3] 18 Describe the contexts in which Guangdong music might typically have been performed: (a) in the early twentieth century … … [1] (b) later in the twentieth century. … … [1]

8 0410/12/M/J/19 © UCLES 2019 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 a piece of instrumental music. Look at the skeleton score, which you will find in the separate Insert, and read through questions 19 to 26. Answer the questions in this booklet. 19 What key is the music in at the beginning? … [1] 20 The melody is incomplete in bar 6. Fill in the missing notes on the stave below. The rhythm has been given to help you. [3] 21 What compositional device is heard in bars 16 and 18? … [1] 22 Describe the accompaniment in bars 29–34. … … … [2] 23 Name the bracketed interval in bar 35. … … [2] 24 Compare bars 40–43 with bars 1–4. … … … [2]

9 0410/12/M/J/19 © UCLES 2019 [Turn over 25 What type of piece is this? Concerto March Symphony Waltz [1] 26 (a) When was this music written? … [1] (b) Give two reasons for your answer. … … … [2] (c) Who composed it? Haydn Stravinsky Tchaikovsky Vivaldi [1]

10 0410/12/M/J/19 © UCLES 2019 SECTION D [16 marks] Set Work Answer all the questions on one set work: either Mendelssohn: Italian Symphony (Movements 2 and 4) (questions 27 to 33) or Mozart: Clarinet Concerto (Movement 1) (questions 34 to 41). Mendelssohn: Italian Symphony 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 27 to 29. 27 (a) What part of the Exposition begins at the start of the extract? … [1] (b) What is the purpose of this part of the Exposition? … [1] (c) Describe two ways in which bars 1 – 2 contrast with the music earlier in the movement (before the recorded extract). … … … [2] 28 (a) Which theme is heard from bar 19? … [1] (b) How is this theme related to the first subject? … … [1] (c) Which of the following do the trumpets play to accompany this theme? Dominant pedal Fanfare Sustained chords Tonic pedal [1]

11 0410/12/M/J/19 © UCLES 2019 [Turn over 29 Describe what is played by the second violins in bar 39. … … [1]

12 0410/12/M/J/19 © UCLES 2019 Music D2 Look at the skeleton score, which you will find in the separate Insert, and read through questions 30 to 33. 30 (a) What is the key at the start of the extract? … [1] (b) What is the relationship of this key to the tonic key of the movement? … [1] 31 On the stave below, write out the last two notes in the clarinet part in bar 4 at sounding pitch. The key signature has been given. 4 &b [2] 32 (a) Describe the modal shift in bar 12. … … [1] (b) Which section of the movement begins in bar 12? … [1] (c) In which section of the movement was the music in bars 12–18 first heard? … [1] 33 Why is this symphony known as Mendelssohn’s Fourth Symphony, when it was the second symphony he completed? … … [1]

13 0410/12/M/J/19 © UCLES 2019 [Turn over Mozart: Clarinet Concerto 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 36. 34 (a) Describe the accompaniment to the clarinet solo in bars 1–7. … … … [2] (b) Identify one difference in the melody (apart from the use of the clarinet) and one difference in the accompaniment from when this passage was first heard in the movement (before the recorded extract). Difference in melody: … … Difference in accompaniment: … … [2] 35 Describe the clarinet writing in bars 9–18. … … … … [3] 36 Which section of the movement does this extract come from? Codetta (solo exposition) First Subject (solo exposition) Second Subject (solo exposition) Transition (recapitulation) [1]

14 0410/12/M/J/19 © UCLES 2019 Music D4 Look at the skeleton score, which you will find in the separate Insert, and read through questions 37 to 41. 37 On the stave below, write out the first two notes of the clarinet part in bar 1 at sounding pitch. The key signature has been given. [2] 38 (a) What key is the music in at the beginning of the extract? … [1] (b) What is its relationship to the tonic key of the movement? … [1] 39 Where is the melodic material played by the clarinet in bars 1–8 derived from? … … [1] 40 What section of the movement does this extract come from? … [1] 41 Clarinets in Mozart’s time were made in three keys: C, B flat and A. Why was this? … … … [2]

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This syllabus is regulated 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 2019 [Turn over Cambridge Assessment International Education Cambridge International General Certificate of Secondary Education MUSIC 0410/12 Paper 1 Listening May/June 2019 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 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.

0410/12 Cambridge IGCSE – 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.

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 3 of 6 Question Answer Marks 1 Starts with a descending interval then moves in leaps 1 2 Major key [1]. Full orchestra / choir / many singers / use of trumpets / brass / loud [1]. High pitch / rising / fanfare / highest note on ‘excelsis’ [1] 2 3 Starts with a solo singer / uses solo singers / the full choir doesn’t sing / fewer voices [1]. Polyphonic / imitative texture [1]. Quieter / fewer instruments / no trumpets [1]. Becomes minor [1]. 3 4a Classical period 1 4b Mozart 1 5 Snare drum 1 6 2 or 4 1 7 Allegro / Allegretto / Allegro moderato etc 1 8(a) Music which was written in the twentieth century / Modern era (neo / new) [1] but heavily influenced by features of baroque / classical / earlier music [1]. (Allow [1] for a general reference to e.g. modernised classical music) 2 8(b) Use of trombones [1]. Melodic use of trumpets / brass [1]. Use of harpsichord [1]. Reference to combination of unusual instruments [1]. Rapidly changing orchestration [1]. Unusual key relationships (accept modulations) [1]. Chromatic harmony / (mild) dissonance [1]. Syncopation (in the accompaniment) [1]. Regular phrase lengths / question and answer phrases [1]. 3 9 A minor 1 10 The melody is doubled [1] in thirds [1] and there is a walking bass line [1]. There is a constant percussion part [1]. Melody and accompaniment/homophonic OR accompanied by chords [1]. 2 11 Ternary / ABA (accept ABBA) 1 12(a) Latin America 1 12(b) Pan pipes / charangos / guitars / maracas / tres 1 13(a) 4 1 13(b) Monophonic (accept solo) 1 14(a) Gamelan 1 14(b) Indonesia / Bali (accept Java) 1 14(c) Repeated patterns / ostinato [1]. Use of metallic instruments / metallophones (accept gongs) [1]. ‘Shimmering’ effect in the tuning [1]. Contrasts of texture [1]. Solo instrument to start followed by full ensemble [1]. Heterophonic texture [1] with simultaneous slower and faster moving lines [1]. Contrasting dynamics [1]. 2

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 4 of 6 Question Answer Marks 15 Gaohu [1] (must be named for full marks). It is a bowed instrument [1] with two strings [1] / fiddle [1]. It is a smaller / higher version of the erhu [1]. 2 16 Heterophonic texture is when each instrument varies the basic melody simultaneously. In this extract, the yangqin plays fast repeated notes while the gaohu plays longer notes. The gaohu uses much sliding between notes and some ornamentation whereas the other instruments move ‘cleanly’. The yangqin often adds short arpeggios while the gaohu slides. The flute adds some extra passing notes. An accurate explanation of texture, with clear examples from the music: 3 A reasonable explanation, and some examples: 2 An explanation but no examples, or examples but no explanation: 1 No correct information: 0 3 17 The music begins in free time [1]. After that, the music is metred [1] with 4 beats per bar / duple metre [1]. Pentatonic scale [1]. Allow [1] for reference to pitch-bending / glissando / sliding / tremolo. 3 18(a) Played by amateur musicians [1] in tea-houses [1] 1 18(b) It became pure entertainment music [1] played by professional musicians [1] in recording studios / TV / entertainment / commercial / dance halls / films [1] 1 19 F major 1 20 Entirely or almost completely correct 3 A reasonable attempt but with too many errors for full marks 2 A few correct notes in context / general shape reproduced 1 Little accuracy 0 3 21 Repetition 1 22 A rising chromatic scale in repeated crotchets / notes played in unison. Without harpsichord. Award [2] marks for a detailed response with accurate use of terminology. Award [1] for a less precise response but with some correct elements. 2 23 Major [1] sixth [1]. (Sixth must be correct to receive the mark for major) 2 24 The same melody is played [1] but in a minor key / relative minor [1]. The oboe plays arpeggios above [1]. Ref. to terraced dynamics in the second passage [1]. 2 25 Concerto 1

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 5 of 6 Question Answer Marks 26(a) Baroque 1 26(b) Use of harpsichord / basso continuo [1]. Ornamentation / addition of passing notes etc. [1]. Ritornello structure [1]. Much use of sequence [1]. Terraced dynamics [1]. Small / string orchestra [1]. 2 26c Vivaldi 1 27(a) Transition / bridge 1 27(b) To modulate 1 27(c) Now strings only [1] In octaves (accept unison) / monophonic texture [1] Quavers rather than triplets / simple time [1] 2 28(a) 2nd subject / theme 1 28(b) Same rhythm 1 28(c) Dominant pedal 1 29 The same as the 1st violins in bar 38 / imitation of 1st violins 1 30(a) D major 1 30(b) Tonic / parallel major 1 31 One mark per note 2 32(a) D major to D minor / (2nd violins play) F sharp then F natural 1 32(b) Coda 1 32(c) Transition 1 33 It was the fourth of Mendelssohn’s symphonies to be published / it was revised later / was published after his death. 1 34(a) Violins or strings double / in thirds / sixths / in parallel [1] and there is a (repeated) pedal [1] 2 34(b) Decoration is added to the melody in bar 5 and 7 (accept any description) [1]. There are no bass instruments playing the accompaniment (accept the accompaniment is lighter / thinner / fewer instruments etc.) [1]. 2 35 It is virtuosic [1] with many fast, short notes / semi-quavers [1], using scales [1] and arpeggios [1] over a very wide range [1] and with wide leaps [1] 3 36 First Subject (solo exposition) 1

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 6 of 6 Question Answer Marks 37 One mark per note 2 38(a) E major 1 38(b) Dominant 1 39 A combination of the first and second subjects (both must be mentioned) 1 40 Development 1 41 The instruments did not have as many keys [1] so consequently could not play the full range of notes [1]. They would therefore choose an instrument which best fitted the key of the music [1] (i.e. allowed them to play more notes in that key [1]). (Accept answers which explain this concept however expressed). Award [1] for a general understanding. 2 Note: Any underlined words or phrases included in the mark scheme must be included in the answer for the mark to be awarded.