Cambridge IGCSE Music 0410 — 2019 Oct/Nov Paper 1 · Variant 1

This document consists of 16 printed pages and 1 Insert. DC (ST) 162891/3 © UCLES 2019 [Turn over Cambridge Assessment International Education Cambridge International General Certificate of Secondary Education * 0 3 3 7 1 2 8 0 1 1 * MUSIC 0410/11 Paper 1 Listening October/November 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 0410/11/O/N/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 instruments. The words are printed below. Read through questions 1 to 4. 1 “Come, if you dare” our trumpets sound, 2 “Come, if you dare” the foes rebound, 3 “We come, we come, we come, we come” 4 Says the double, double, double beat of the thund’ring drum. [Words repeat, then extract continues] 1 (a) What type of voice is heard first? … [1] (b) Which of the following describes the melodic shape at the beginning of lines 1 and 2? Ascending steps then a descending leap of a fifth Ascending steps then a descending leap of an octave Descending steps then an ascending leap of a fifth Descending steps then an ascending leap of an octave [1] 2 How many beats are there in each bar? … [1] 3 How is the music different when the words are repeated after line 4? … … … [2]

3 0410/11/O/N/19 © UCLES 2019 [Turn over 4 (a) When was this music written? … [1] (b) Give two reasons for your answer. … … … [2]

4 0410/11/O/N/19 © UCLES 2019 Music A2 You will hear an extract of music for orchestra. Look at the skeleton score and read through questions 5 to 6. 44 &bbbbb Extract continues... œ œ œ œ™œœ œ œ œ œœœ œ™œœ œ™œœ œ œ œ œ œ œ œ œ œ œ œ 5 Four different versions of the printed melody are heard (before a completely new melody is heard). Complete the table below, referring to any features of the melody or its accompaniment. Melody Description 1st time The clarinets and bassoons play the printed melody in harmony, quietly and staccato. 2nd time … … … 3rd time Flutes and piccolos play a decorated melody in a high register, accompanied by a syncopated horn. 4th time … … … [4]

5 0410/11/O/N/19 © UCLES 2019 [Turn over 6 (a) When was this music written? … [1] (b) Give two reasons for your answer. … … … [2] (c) Who composed it? Bach Debussy Mozart Tchaikovsky [1]

6 0410/11/O/N/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 7 to 9. 7 The extract begins with a duet for two similar instruments. Name the instrument. … [1] 8 How is the second half of the extract different from the first? (You may wish to consider melody, instrumentation, texture and/or metre in your answer.) … … … … … [4] 9 Where does this music come from? … [1]

7 0410/11/O/N/19 © UCLES 2019 [Turn over Music B2 You will hear an extract from a piece for voices and instruments. Read through questions 10 to 12. 10 Describe how the voices are used. … … … … [3] 11 (a) What type of instruments are heard? … [1] (b) Describe the music they play. … … [1] 12 Where does this music come from? … [1]

8 0410/11/O/N/19 © UCLES 2019 Music B3 (World Focus: China) You will hear three passages from a piece of Jiangnan Sizhu music, separated by short gaps. Read through questions 13 to 18. 13 What type of scale is heard in the first passage? … [1] 14 What is the role of the percussion in the first passage? … [1] 15 Name one wind instrument and one string instrument heard in the extract. Wind instrument: … String instrument: … [2] 16 Explain how the tempo and metre of the music in this extract is typical of Jiangnan Sizhu music. … … … … [3] 17 Why are ensembles like this called ‘sizhu’ (‘silk and bamboo’)? … … … [2] 18 Where did Jiangnan Sizhu music develop? Beijing Guangzhou Hong Kong Shanghai [1]

9 0410/11/O/N/19 © UCLES 2019 [Turn over 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 Which feature is heard in the accompaniment in bars 15–20? Alberti bass Dominant pedal Ground bass Tonic pedal [1] 20 Name the bracketed interval in bar 24. … … [2] 21 (a) What key is the music in from bar 36 onwards? … [1] (b) What is the relationship of this key to the tonic? … [1] 22 The melody is incomplete in bars 38–39. Fill in the missing notes on the stave below. The rhythm has been given to help you. [3] 23 What ornament is heard in bar 50? … [1]

10 0410/11/O/N/19 © UCLES 2019 24 How is the music (marked with a bracket) in bars 513–522 used in bars 523–552? (The same passage is heard in bars 583–622.) … … … … [3] 25 (a) What type of piece is this? Minuet and Trio Sonata String quartet Symphony [1] (b) Give a reason for your answer. … … [1] 26 (a) When was this music written? … [1] (b) Who composed it? Brahms Handel Haydn Prokofiev [1]

11 0410/11/O/N/19 © UCLES 2019 [Turn over SECTION D [16 marks] Set Work Answer all the questions on one set work: either Mendelssohn: Italian Symphony (questions 27 to 33) or Mozart: Clarinet Concerto (questions 34 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, which you will find in the separate Insert, and read through questions 27 to 30. 27 (a) On the stave below, write the first two notes of the clarinet part in bar 3 at sounding pitch. The key signature has been given. 3 & [2] (b) The clarinet is marked leggiero in bar 2. What does this mean? … [1] 28 (a) From which section of the movement is this extract taken? … [1] (b) Which theme is heard in bars 2–4? … [1] 29 (a) At bar 18 a new theme is heard. Which Italian folk dance may Mendelssohn be referring to with this theme? … [1] (b) What is the key of the music at bar 18? … [1]

12 0410/11/O/N/19 © UCLES 2019 30 Why might the key of the movement from which this extract is taken be considered unusual? … … [1]

13 0410/11/O/N/19 © UCLES 2019 [Turn over Music D2 Look at the skeleton score, which you will find in the separate Insert, and read through questions 31 to 33. 31 (a) What section of the movement is the extract? … [1] (b) Explain how bars 1–11 of the extract use material from the start of the movement. … … … … [3] 32 Mendelssohn may have had a religious procession in mind when composing this music. What might be happening in the procession in bars 9–18 and how does the music suggest this? … … … … [3] 33 What is the tempo marking at the start of the movement from which this extract is taken? … [1]

14 0410/11/O/N/19 © UCLES 2019 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 38. 34 On the stave below, write the last two notes of the clarinet part in bar 1 at sounding pitch. The key signature has been given. [2] 35 What name is given to the low register used by the clarinet in bar 18? Altissimo Chalumeau Clarino Contralto [1] 36 Name the key and cadence in bars 22–23. Key: … Cadence: … [2] 37 (a) What section of the movement is this? … [1] (b) What is its function in the overall structure? … [1]

15 0410/11/O/N/19 © UCLES 2019 [Turn over 38 In which year was this concerto composed and first performed? 1756 1782 1791 1812 [1]

16 0410/11/O/N/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 What is the tempo marking of the movement? … [1] 40 (a) This extract is the second time the first subject is played in the solo exposition. How is the music of bars 1–5 different from the first time the first subject is played in the solo exposition (before the recorded extract)? … … … [2] (b) Which word describes how the theme is played in these bars? Cadenza Imitation Inversion Unison [1] 41 What does the clarinet play in bars 7–10? … [1] 42 Describe the clarinet writing from bar 11 to the end of the extract. … … … … [3]

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 0410/11 Paper 1 Listening October/November 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 October/November 2019 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 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.

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2019 © UCLES 2019 Page 3 of 6 Question Answer Marks 1(a) Tenor 1 1(b) Descending steps then an ascending leap of a fifth 1 2 3 1 3 The full chorus / choir sing [1] in harmony [1]. A full orchestra is added. 2 4(a) Baroque 1 4(b) Use of harpsichord / (basso) continuo [1]. Ornamentation [1]. Terraced dynamics [1]. Scotch-snap rhythm [1] 2 5 2nd time: Trumpets / brass play the melody [1]. There is a rising scale [1] in the pizzicato strings [1]. There is a constant pedal underneath [1]. The melody changes from bar 2 [1]. (Snare) drum roll [1]. 4th time: It is played tutti / by full orchestra [1] and loudly [1]. A (snare) drum plays the same rhythm as the melody [1]. The same version of the melody as the 2nd time [1]. Some ref. to doubling [1]. (Accept any other valid points – maximum 2 marks per box) 4 6(a) 19th Century / Romantic 1 6(b) Large orchestra [1]. Use of piccolo in the orchestra [1]. Brass used melodically. [1]. Full percussion section [1]. Wide range of dynamics and/or pitch [1]. 2 6(c) Tchaikovsky 1 7 Shakuhachi 1 8 The melody seems composed rather than improvised [1]. More instruments / kotos / a drum join in [1]. The melody is doubled in unison / single melody [1] and the koto plays a repetitive accompaniment [1]. The music is metrical [1] with 4 beats per bar [1]. The shakuhachis play higher [1] and have less ornamentation / vibrato [1]. 4 9 Japan 1 10 A solo / male voice starts [1] and is answered by a choir / voices [1] singing in harmony [1]. It is call and response [1]. Later the voices sing the same music but without words [1] and some voices add a percussion effect [1]. Humming / without words [1]. Ref. to quiet / slow / subdued [1]. 3 11(a) They are all percussion instruments / drums / shakers. 1 11(b) They play repeated / ostinato rhythms 1 12 Africa 1 13 Pentatonic 1 14 To mark the beat / set the tempo [1] 1

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2019 © UCLES 2019 Page 4 of 6 Question Answer Marks 15 Wind: Dizi String: Erhu / Pipa (Ruan) 2 16 There are four beats per bar / yi ban san yan [1]. The music starts slowly [1]; then moves to a mid-tempo [1]. The final passage is much faster [1]. Credit [1] for reference to the music getting faster throughout . Award [3] marks only if both metre and tempo are given. 3 17 Silk refers to string instruments [1] and bamboo to wind instruments [1]. Award [1] mark for the instruments are made of silk and/or bamboo. The ensembles always contain a mix of both types [1] 2 18 Shanghai 1 19 Tonic pedal 1 20 Minor sixth (sixth must be correct to get the mark for minor) 2 21(a) A (major) 1 21(b) Dominant 1 22 Entirely or almost completely correct 3 A reasonable attempt but with too many errors for full marks 2 A few correct notes OR general shape reproduced 1 Little melodic accuracy 0 3 23 Trill 1 24 It is repeated [1] with oboes added [1] (playing legato / smoothly [1]); it is then played again with two repeated quavers per crotchet [1]; it is finally repeated once more loudly [1]. 3 25(a) Symphony 1 25(b) Played by orchestra [1]. First subject in tonic / second in dominant / modulation from tonic to dominant [1]. It is a sonata form / exposition [1]. 1 26(a) Classical period (1750–1820) 1 26(b) Haydn 1

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2019 © UCLES 2019 Page 5 of 6 Question Answer Marks 27(a) One mark per note 2 27(b) Lightly 1 28(a) Development 1 28(b) 1st subject. Accept first theme 1 29(a) Tarantella (accept saltarello) 1 29(b) G minor 1 30 Unusual to end a major key symphony (A major) in a minor key (A minor). 1 31(a) Coda 1 31(b) Opening recitation / semitone motif is extended /developed / varied / used [1] and is played by strings only [1]. Accompaniment is the same [1] but is heard from the start [1] and is now played by most of the strings [1]. Wind interjection of original theme in bar 9 [1]. 3 32 Disappearing into the distance (accept it is the end of the procession) [1] Getting quieter [1], instruments dropping out [1], fragments of melody [1]. Max. 2 marks for what is happening in the music. 3 33 Andante con moto 1 34 One mark per note 2 35 Chalumeau 1 36 Key: E minor Cadence: Imperfect 2 37(a) Transition 1 37(b) To modulate / change key (between the first and second subjects) 1 38 1791 1 39 Allegro (accept Allegro vivace) 1 40(a) It is in E major / the dominant [1]. The order of entries has changed / the clarinet is now the third entry [1] 2 40(b) Imitation 1

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2019 © UCLES 2019 Page 6 of 6 Question Answer Marks 41 An Alberti bass / broken chords (accept accompaniment). 1 42 The writing is virtuosic [1] involving scales [1] and arpeggios [1] including diminished 7ths [1] over a wide range [1] ending with a chromatic scale [1] and trill [1]. 3