Cambridge IGCSE Music 0410 — 2019 Oct/Nov Paper 1 · Variant 3

This document consists of 15 printed pages, 1 blank page and 1 Insert. DC (LEG/CB) 163312/2 © UCLES 2019 [Turn over Cambridge Assessment International Education Cambridge International General Certificate of Secondary Education * 0 5 8 6 3 5 0 6 8 8 * MUSIC 0410/13 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 0410/13/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 two short passages from a piece of music for voices and instruments, separated by a short gap. The words are printed below. Read through questions 1 to 6. 1 Go up again, and still look toward the sea 2 There is nothing 3 The earth is as iron under me 4 Hearest thou no sound of rain? 5 Seest thou nothing arise from the deep? 6 No, there is nothing. [Instrumental Introduction] 7 The waters gather, they rush along! 8 They are lifting their voices 9 The waters gather, they rush along! 10 The waters gather, they rush along! 1 What type of voice sings lines 1, 4 and 5? … [1] 2 Which of the following best describes the melodic shape of lines 2 and 3? ascending then descending broken chord ascending then descending scale descending then ascending broken chord descending then ascending scale [1] 3 Describe two ways in which the accompaniment for the second passage reflects the meaning of the words. … … … [2]

3 0410/13/O/N/19 © UCLES 2019 [Turn over 4 Name the vocal texture heard at the start of the second passage. … [1] 5 When was this music written? … [1] 6 (a) What type of work is this extract taken from? Concerto Musical Oratorio Symphony [1] (b) Give a musical reason for your answer. … … [1]

4 0410/13/O/N/19 © UCLES 2019 Music A2 You will hear an extract from an instrumental piece. Read through questions 7 to 10. The extract begins with the accompanying instruments before the soloist enters after about 30 seconds. 7 (a) Which of the following best describes the bass line in this extract? Alberti bass Drone Ground bass Roll [1] (b) What is played by the other accompanying instruments? … … … [2] 8 (a) What is the solo instrument? … [1] (b) Describe the music played by the soloist. … … … [2] 9 Which of the following is this extract an example of? Impressionism Jazz Minimalism [1]

5 0410/13/O/N/19 © UCLES 2019 [Turn over 10 Who composed this music? Debussy Gershwin Glass Rachmaninov [1]

6 0410/13/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 11 to 13. 11 (a) Name the first instrument. … [1] (b) How is this instrument played? … [1] 12 What is the texture at the start of the extract? … [1] 13 (a) Which culture does this music come from? … [1] (b) Apart from the instruments used, give two reasons for your answer. … … … [2]

7 0410/13/O/N/19 © UCLES 2019 [Turn over Music B2 You will hear an extract from a piece for instruments. Look at the skeleton score below and read through questions 14 to 17. 14 (a) Which two instruments play in the introduction? … … [2] (b) Which instrument plays the printed melody? … [1] 15 Name the compositional device used in bars 14–16. … [1] 16 The extract continues with a repetition of the printed melody, but with one significant change. Describe precisely how it has been changed. … … [1] 17 Where does this music come from? … [1]

8 0410/13/O/N/19 © UCLES 2019 Music B3 (World Focus: China) You will hear an extract of Jiangnan Sizhu music. Read through questions 18 to 23. This extract has the following structure: Approx. timing Solo instrument 8 seconds Full ensemble 8 seconds First duet 45 seconds Full ensemble 8 seconds Second duet 10 seconds 18 What instrument is heard at the start of the extract? … [1] 19 Describe the texture of the music in the first passage for the full ensemble. … … … [2] 20 Complete the table below, naming the two instruments heard in the first duet section and describing how they are played. Instrument How it is played … … … … [4] 21 Which instrument that has not yet featured in a solo or duet section is heard in the second duet section? … [1] 22 How is the metre typical of Chinese music? … [1]

9 0410/13/O/N/19 © UCLES 2019 [Turn over 23 Suggest an occasion or venue where this music might traditionally have been played. … [1]

10 0410/13/O/N/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 piano. Look at the skeleton score, which you will find on the separate Insert, and read through questions 24 to 30. Answer the questions in this booklet. 24 Which of the following outlines the chord progression in bars 1–4? I I Ic II I I I Ic V7 I I IV Ic II I I VI Ic V7 I [1] 25 Name the bracketed interval in bar 5. … … [2] 26 Name the cadence in bars 15–16. … [1] 27 The melody is incomplete in bars 22–23. Fill in the missing notes on the stave below. The rhythm has been given to help you. 21 22 23 &## œ œ œ œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ [3]

11 0410/13/O/N/19 © UCLES 2019 [Turn over 28 (a) Which of the following best describes the printed extract? Concerto March Minuet Waltz [1] (b) Give two reasons for your answer. … … … [2] 29 The recording continues with the opening of two variations based on the printed theme. Describe how the music has been varied in each case. (a) Variation 1 … … [1] (b) Variation 2 … … … [2] 30 (a) Which period of music is this extract from? … [1] (b) Give two reasons for your answer. … … … [2]

12 0410/13/O/N/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 31 to 35) or Mozart: Clarinet Concerto (Movement 1) (questions 36 to 45). 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 31 to 32. 31 (a) Give the title and tempo marking of the movement from which this extract is taken. … … [2] (b) Describe one feature of the extract, other than the tempo, that reflects the title. … … [1] 32 (a) Which instrument plays the printed melody in bars 63–14? … [1] (b) This melody is repeated from the end of bar 14. Describe two changes Mendelssohn makes to the music (apart from the small change in melodic shape in bar 14). … … … [2] (c) The same melody is also heard from bar 22. Describe two further changes Mendelssohn makes this time. … … … [2]

13 0410/13/O/N/19 © UCLES 2019 [Turn over Music D2 Look at the skeleton score in the Insert, and read through questions 33 to 35. 33 On the stave below, write the first two notes in the clarinet part in bar 1 at sounding pitch. The key signature has been given. &b [2] 34 (a) The start of the extract is the first time the clarinet has been heard in the movement as a whole. Which other instrument is also heard for the first time here? … [1] (b) What does this instrument play in bars 1–2? … [1] (c) Describe two further ways in which the start of the extract provides contrast with the music before the recording starts (other than the addition of new instruments). … … … [2] 35 How does the music heard in bars 13–14 differ from when it was heard at the beginning of the movement (before the recorded extract)? … … … [2]

14 0410/13/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 36 to 40. 36 (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] 37 On the stave below, write the first two notes of the clarinet part in bar 5 at sounding pitch. The key signature has been given. &### [2] 38 What compositional device is used in bars 9–11? … [1] 39 Describe the clarinet writing in bars 163–242. … … … [2] 40 What part of the solo exposition is this? … [1]

15 0410/13/O/N/19 © UCLES 2019 Music D4 Look at the skeleton score, which you will find in the separate Insert, and read through questions 41 to 45. 41 Describe the texture of the music in bars 1–2. … … [1] 42 (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] 43 Compare bars 1 and 2 with bars 3 and 4. What are the similarities and differences? … … … … [3] 44 What section of the movement is this? … [1] 45 What is heard in the movement immediately after the recorded extract? … [1]

16 0410/13/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. BLANK PAGE

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 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.

0410/13 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.

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2019 © UCLES 2019 Page 3 of 6 Question Answer Marks 1 Bass, accept baritone 1 2 Ascending then descending broken chord 1 3 Fast (moving notes) [1], scales [1], loud / full orchestra [1]. 2 4 Homophonic [1] 1 5 Romantic / Nineteenth century 1 6(a) Oratorio 1 6(b) Voices and orchestra [1]. Solo voices and chorus [1]. Recitative [1]. 1 7(a) Ground bass 1 7(b) Repeated pattern / ostinato [1], triplets [1], two alternating notes [1] a third apart [1]. 2 8(a) Violin 1 8(b) Long (accept slow) notes [1], limited range of pitches [1], repeated pattern [1], octave / wide leaps [1] 2 9 Minimalism 1 10 Glass 1 11(a) Rebab / rabab 1 11(b) (Strings are) bowed 1 12 Monophonic 1 13(a) Arab 1 13(b) Heterophonic texture [1], use of trills / grace notes / decorations / ornamentation [1] pitch bending / microtones [1], (accept narrow range of notes [1]), (free introduction followed by) metrical ensemble section [1] 2 14(a) Guitar [1] and charango [1] 2 14(b) Panpipes 1 15 (Descending) sequence 1 16 It is played an octave higher 1 17 Latin America 1 18 Dizi 1 19 Heterophonic [1] in octaves [1] 2

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2019 © UCLES 2019 Page 4 of 6 Question Answer Marks 20 Instrument How it is played Pipa Plucked Yang qin Hammered 4 21 Erhu 1 22 It is duple / quadruple / yi ban san yan 1 23 In a religious or ritual context / at a wedding / celebration / funeral / tea house / at home / in a club / for their own entertainment. 1 24 I I Ic V7 I 1 25 Perfect [1] fourth [1] (mark for perfect only if fourth is correct) 2 26 Imperfect 1 27 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 28(a) Minuet 1 28(b) Triple time [1] Ternary form [1] Moderate tempo [1] 2 29(a) RH / melody decorated / added notes / semiquavers 1 29(b) Minor key [1] Slower [1] Block chords rather than broken chords [1] Description of melody shape change in bars 1 and 2 [1] 2 30(a) Classical 1 30(b) Balanced / periodic / regular phrasing [1] Diatonic / consonant / functional harmony [1] Homophonic texture / melody and accompaniment [1] 2 31(a) Saltarello [1] Presto [1] 2

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2019 © UCLES 2019 Page 5 of 6 Question Answer Marks 31(b) Triplets [1] (Small) leaps [1] 1 32(a) Flute 1 32(b) Melody is an octave higher (in the flutes) [1] Melody is doubled by clarinets [1] Thicker accompaniment / orchestration / (full) string section accompaniment [1] 2 32(c) Played by violins [1] in thirds [1] Based on chord V [1] Detached quaver accompaniment (from oboes / trombones / timpani) [1] 2 33 1 mark per note 2 34(a) Horn [1] 1 34(b) Dominant pedal / the note E 1 34(c) New key of A major / dominant [1] Richer scoring [1] Richer harmonies [1] More legato [1] 2 35 Now in A minor rather than D minor [1] ff rather than f [1] Cellos and basses begin staccato quavers earlier [1] 2 36(a) E major 1 36(b) Dominant 1 37 One mark per note 2 38 Descending sequence 1 39 There is a dialogue effect [1] between the (very) low / chalumeau register [1] and the high register [1] 2 40 Second subject 1 41 The music is played in octaves (accept unison / monophonic / the full orchestra / tutti) [1] 1 42(a) F sharp minor 1 42(b) Relative minor 1

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2019 © UCLES 2019 Page 6 of 6 Question Answer Marks 43 It is the same melody / melodic shape, but in bars 3-4 the music is piano [1] and played staccato [1] in quavers rather than semiquavers [1]. There are fewer instruments [1] and there is now some harmony / there are long notes / suspensions / it is not in unison [1]. 3 44 Orchestral ritornello 1 45 The recapitulation / the first subject 1