Cambridge IGCSE Music 0410 — 2019 May/June Paper 1 · Variant 3

This document consists of 15 printed pages, 1 blank page and 1 Insert. DC (LT/ST) 162611/4 © UCLES 2019 [Turn over Cambridge Assessment International Education Cambridge International General Certificate of Secondary Education * 7 5 1 9 7 3 1 9 8 5 * MUSIC 0410/13 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 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 regulated for use in England, Wales and Northern Ireland as a Cambridge International Level 1/Level 2 Certificate.

2 0410/13/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 of music for voices and instruments. The words are printed below. Read through questions 1 to 5. [Instrumental Introduction] 1 Do I hear a waltz? 2 I don’t understand. 3 It sounds like a waltz. 4 But where is the band? 5 A rose is a rose, and this isn’t Vienna 6 It’s me I suppose, hold your hat there it goes again. 7 A remarkable waltz, 8 That seems to be real. 9 But is it a waltz, 10 Or just how I feel? 11 Peculiar if true, but the Danube was never so blue 12 Every time I look up and see you 13 I hear (He hears) a waltz. 1 (a) Which of the following melodic intervals features prominently in the introduction? Major sixth Major third Octave Semitone [1] (b) The accompaniment begins with an ostinato. In which line of the words does the shape of the ostinato change? Line number … [1] 2 What type of voice sings lines 2, 4, 5 and 8? … [1] 3 Name the instrument which plays at the end of lines 7 and 9. … [1]

3 0410/13/M/J/19 © UCLES 2019 [Turn over 4 What features of the music are typical of a waltz? … … … …[3] 5 What type of work is this extract taken from? Concerto Musical Oratorio Symphony [1]

4 0410/13/M/J/19 © UCLES 2019 Music A2 You will hear an extract from an instrumental piece. Look at the skeleton score below and read through questions 6 to 9. Woodwind Strings? 1 2 3 4 5 Accompaniment? 6 7 8 9 10 11 12 13 Extract continues... 14 15 16 c &b &b &b &b œ œ œ œ œb œb œ œ œ Ó œ œ œ œ œb œb œ œ œ Ó œ™œbJ œb œ œ œ œ Ó œ™ œbJ œb œ œ œ œ Ó œ œ œ œ œb œb œ œ œ Ó œ œ œ œ œb œb œ œ œ Ó œ™ œbJ œb œ œ œ œ œ Ó œ™ œbJ œb œ œ œ œ œ Ó œ 6 What instrumental effect do the strings use when playing the accompaniment in bars 1–8? Arco Pizzicato Tremolo Vibrato [1] 7 Describe the accompaniment to the melody in bars 9–16. … … …[2]

5 0410/13/M/J/19 © UCLES 2019 [Turn over 8 The melody in bars 1–8 is used three more times (after the printed music). Complete the table below to show what changes are heard each time. Changes? 1st time Melody played by horns an octave lower accompanied by a string scale 2nd time … … … 3rd time … … … [4] 9 Who composed this music? Bach Haydn Stravinsky Tchaikovsky [1]

6 0410/13/M/J/19 © UCLES 2019 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. Read through questions 10 to 12. 10 Name the first melody instrument. … [1] 11 (a) Name the second melody instrument. … [1] (b) How is this instrument played? …[1] 12 (a) Where does this music come from? … [1] (b) Other than the instruments used, give two reasons for your answer. … … …[2]

7 0410/13/M/J/19 © UCLES 2019 [Turn over Music B2 You will hear an extract from a piece for instruments. Read through questions 13 to 15. 13 Describe the texture of the music when all the instruments are playing. … … … …[3] 14 Briefly describe the main way the music changes towards the end of the extract. …[1] 15 (a) What is this type of instrumental ensemble called? … [1] (b) Where does this music come from? … [1]

8 0410/13/M/J/19 © UCLES 2019 Music B3 (World Focus: China) You will hear three short passages from the beginning, middle and end of a piece of Guangdong music. Read through questions 16 to 20. 16 Name and describe the bowed instrument which is heard at the start of the first passage. … … …[2] 17 Describe the scale used in the first passage. … … …[2] 18 Describe the texture of the second passage. … … …[2] 19 Explain how the tempo and metre of the three passages are typical of their place in the structure of the whole piece. … … … … …[3] 20 Where was Guangdong music traditionally heard (in the early twentieth century)? …[1]

9 0410/13/M/J/19 © UCLES 2019 [Turn over BLANK PAGE

10 0410/13/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 an extract from a piece for instruments. Look at the skeleton score, which you will find on the separate Insert, and read through questions 21 to 27. Answer the questions in this Question Paper. 21 Name the bracketed interval in bar 1. … … [2] 22 The melody is incomplete in bars 8–9. Fill in the missing notes on the stave below. The rhythm has been given to help you. (The same melody is heard in bars 28–29 and 48–49.) 7 8 9 10 ?b œ œ œ œ œ œ œ œ œ œ ˙™ ˙™ [3] 23 Describe in detail what is played in bars 14–16. … … …[2] 24 (a) Name the key and cadence in bars 19–20. Key: … Cadence: … [2] (b) What is the relationship of this key to the tonic key of the extract? … [1]

11 0410/13/M/J/19 © UCLES 2019 [Turn over 25 Compare the first 10 bars with bars 304–403, identifying one similarity and two differences. Similarity … … Differences … … … [3] 26 How are bars 404–503 different from the first 10 bars? …[1] 27 (a) Which period of music is this extract from? …[1] (b) Give one reason for your answer. … …[1]

12 0410/13/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 28 to 34) or Mozart: Clarinet Concerto (Movement 1) (questions 35 to 42). 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 in the Insert, and read through questions 28 to 32. 28 (a) Give two reasons why the start of the extract might be seen as the start of a Recapitulation section. … … …[2] (b) Why is this point in the music not a Recapitulation? … …[1] 29 In which part of the Exposition is the music from bar 6 first heard? … …[1] 30 Which section of the movement begins at bar 25? … [1]

13 0410/13/M/J/19 © UCLES 2019 [Turn over 31 From where is the music in bars 294–31 derived? … [1] 32 On the stave below, write out the two notes in the clarinet part in bar 32 at sounding pitch. The key signature has been given. 32 & [2]

14 0410/13/M/J/19 © UCLES 2019 Music D2 Look at the skeleton score, which you will find in the separate Insert, and read through questions 33 to 34. 33 (a) Describe the structure and instrumentation of the melody in bars 34–112. … … … …[3] (b) The same melody is used in bars 114–192. What does Mendelssohn change? … … …[2] 34 It has been suggested that Mendelssohn was inspired by seeing a religious procession when writing this movement. What features of the music support this? … … … …[3]

15 0410/13/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 35 to 38. 35 How is the theme played at the beginning of the extract different from when it was first heard in the movement (before the recorded extract)? … … …[2] 36 (a) On the stave below, write the first two notes of the viola part in bar 7 in the treble clef. The key signature has been given. [2] (b) Explain how the music played by the violas in bars 7–8 is related to the music of the other instruments. … … …[2] 37 What section of the movement starts in bar 253? … [1] 38 What is heard next in the movement (immediately after the recorded extract)? … …[1]

16 0410/13/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. Music D4 Look at the skeleton score, which you will find in the separate Insert, and read through questions 39 to 42. 39 (a) What section of the movement begins in bar 1? … [1] (b) Why does Mozart change the music from bar 4 compared with the equivalent section earlier in the movement (before the recorded extract)? … …[1] 40 What section of the movement begins in bar 17? … [1] 41 How is the music from bars 323–40 different from the equivalent passage earlier in the movement (before the recorded extract)? … … … …[3] 42 (a) For which famous clarinettist did Mozart write this concerto? … [1] (b) Where was it first performed? Mozarteum, Salzburg National Theatre, Prague Royal Opera House, London Theater an der Wien, Vienna [1]

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 0410/13 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.

0410/13 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.

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 3 of 6 Question Answer Marks 1(a) Semitone 1 1(b) 5 1 2 Alto 1 3 Oboe 1 4 Triple time [1] Fast tempo / one in a bar / lively / allegro [1] Um-cha-cha accompaniment / strong first beat [1] Slightly early 2nd beat (sometimes) [1] Contrasting legato and staccato articulation [1] One chord per bar [1] Lyrical melody [1] Regular phrases [1] 3 5 Musical 1 6 Pizzicato 1 7 Scales [1] played by the strings [1], repeated/ostinato [1] Horn/horns (play chords) [1], melody doubled in thirds [1] 2 8 2nd time: Melody played by trombones / low brass / tuba, (another) octave lower, fast-moving notes / semiquavers in strings, cymbal (crashes in rests), louder 3rd time: Melody in woodwind/flute/oboe, major/different key, end of melody changed / repeated as a rising sequence, strings play lightly/short/high notes in the rests, quieter. MAX 2 marks for each repetition 4 9 Tchaikovsky 1 10 Sitar 1 11(a) Sarangi 1 11(b) The strings are bowed 1 12 India 1 12(b) Presence of a drone [1] Small number of instruments [1] Free metre / rhythm [1] Use of pitch bending [1] 2 13 It is heterophonic [1]. There is a nuclear theme [1], with slow-moving notes [1] and a part with faster-moving notes / embellishments to the theme [1] a low / gong part occasionally [1], and a drum giving the pulse [1]. 3 14 (The tempo) slows down 1

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 4 of 6 Question Answer Marks 15(a) Gamelan 1 15(b) Java / Indonesia (accept Bali) 1 16 Gaohu [1] (must be named for full marks). Two strings [1]. It is a smaller/higher version of the erhu [1], a fiddle [1]. Accept a literal description of the instrument (78cm in height/tuned higher than erhu) [1]. 2 17 Pentatonic [1] with extra notes / leading tones / passing tones [1]. 2 18 Monophonic / unison / in octaves [1] then changing to heterophonic (Accept a description of heterophonic) [1] Must be in correct order for two marks 2 19 The 1st passage begins with a slow and free introduction and continues at a moderate tempo in quadruple metre. The 2nd passage is slightly faster and still in quadruple metre. It would therefore come from the middle of the work. The 3rd passage is very fast in duple metre and would therefore come from the end of the work. A full and accurate description: [3] Some points made about at least 2 passages: [2] At least 1 point made: [1] No valid points: [0] 3 20 Tea houses 1 21 Perfect [1] fourth [1] (mark for perfect only if fourth is correct) 2 22 Entirely or almost completely correct 3 A reasonable attempt but with too many errors for full marks 2 A few correct notes in context OR general shape reproduced 1 Little accuracy 0 3 23 The opening melody at a lower pitch [1] in a different key / in A minor [1] (Accept imperfect cadence at the beginning of bar 14 [1]) 2 24(a) Key: A minor [1] Cadence: Perfect [1] 2 24(b) Dominant 1

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 5 of 6 Question Answer Marks 25 Similarity: same melodic shape/melody/pattern of notes (accept rhythm) at first [1] Differences: major key [1] higher pitch [1] the melody is decorated as it continues / there are many more quaver passages [1] use of double stopping [1] Max. 2 marks for differences 3 26 They are decorated / more notes are added / more stepwise movement/passing notes [1] 1 27(a) Baroque 1 27(b) Harpsichord / (basso) continuo / cello or viol playing accompanying bass line [1] Ornamentation [1] (Notes inégales) [1] (Bass viol) [1] 1 28(a) It is the first subject [1] in the tonic / A minor [1] 2 28(b) The statement is not complete / it is only four bars 1 29 Transition / bridge passage 1 30 Coda 1 31 First movement (of the symphony) 1 32 One mark per note 2 33(a) Two / balanced / 4-bar phrases [1] which start the same [1] but have different final cadences [1] Played by oboe / bassoons / violas [1] 3 33(b) Now an octave higher [1] Played by (1st and 2nd) violins / upper strings [1] Added (flute) countermelody [1] Small changes to the bass line [1] 2 34 Monophonic opening [1] with repetition of note A / rising and falling semitones, like a call to prayer [1] Bass staccato / quavers [1] Simple melody [1] Modal / C natural rather than C sharp [1] Quadruple time signature [1] Andante / walking pace [1] 3

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 6 of 6 Question Answer Marks 35 It is played in imitation [1] rather than as melody and accompaniment [1]. The double basses don’t play [1]. 2 36(a) One mark per note 2 36(b) The music of bar 7 is doubled in thirds [1] by cellos / bassoons / basses and imitated [1] one bar later by upper strings / flutes [1]. The music of bar 8 is an imitation of the second violins [1] from bar 7. 2 37 Codetta 1 38 The solo exposition / first clarinet entry / repeat of first subject 1 39(a) Transition / bridge passage 1 39(b) Because it no longer needs to modulate (as the second subject will be in the tonic) 1 40 Second subject 1 41 It is now F sharp minor / relative minor (rather than C sharp minor) [1]. The violin takes over the main melody from the clarinet [1] and the clarinet adds a new countermelody [1]. 3 42(a) Anton Stadler 1 42(b) National Theatre, Prague 1 Note: Any underlined words or phrases included in the mark scheme must be included in the answer for the mark to be awarded.