Cambridge IGCSE Music 0410 — 2020 Oct/Nov Paper 1 · Variant 3

Cambridge IGCSE™ This document has 16 pages. Blank pages are indicated. MUSIC 0410/13 Paper 1 Listening October/November 2020 Approximately 1 hour 15 minutes You must answer on the question paper. You will need: Insert (enclosed) INSTRUCTIONS ● Answer all questions in Sections A, B and C. ● For each question, tick (3) one of the boxes to show the most appropriate answer, or write your answer in the space provided. ● Section D: answer all questions on the one Set Work you have studied, 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. ● Use a black or dark blue pen. ● Write your name, centre number and candidate number in the boxes at the top of the page. ● Do not use an erasable pen or correction fluid. ● Do not write on any bar codes. ● You may use an HB pencil for any music. ● The insert contains the scores for Music C1 and your chosen Set Work in Section D. INFORMATION ● The total mark for this paper is 70. ● The number of marks for each question or part question is shown in brackets [ ]. * 2 6 8 6 3 4 3 1 4 6 * DC (LK) 188507/3 © UCLES 2020 [Turn over

2 0410/13/O/N/20 © UCLES 2020 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 extract is divided into three sections, shown below. The words (in French) are praising the king. Read through questions 1 to 5. Section 1: Solo voice Section 2: Two voices Section 3: Chorus 1 (a) What type of voice is heard in section 1? … [1] (b) Which of the following best describes the music sung by this voice? Aria Call and response Melisma Recitative [1] 2 What is the texture of the music in section 2? … [1] 3 Describe one way in which the music in section 3 reflects praising the king. … … [1]

3 0410/13/O/N/20 © UCLES 2020 [Turn over 4 From what type of larger work is this extract taken? Minuet and trio Musical Opera Symphony [1] 5 (a) When was this music written? … [1] (b) Give two reasons for your answer. … … … [2]

4 0410/13/O/N/20 © UCLES 2020 Music A2 You will hear an extract from an instrumental piece. Look at the skeleton score below and read through questions 6 to 9. 6 (a) Name the two instruments heard in the extract. … [2] (b) Describe the relationship between the two instruments at the start of the extract. … [1] 7 When the extract continues after the printed music, the opening music is heard again. Describe two differences. … … … [2]

5 0410/13/O/N/20 © UCLES 2020 [Turn over 8 What type of piece is this? Concerto Oratorio Sonata Symphony [1] 9 (a) When was this music written? … [1] (b) Give a reason for your answer. … … [1]

6 0410/13/O/N/20 © UCLES 2020 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 voice and instruments. Read through questions 10 to 12. 10 (a) Name the first instrument. … [1] (b) Name the second instrument. … [1] (c) How is the sound produced on the second instrument? … [1] 11 Which of the following best describes the melodic shape of the first phrase sung by the voice? It begins with an ascending interval then moves by step. It begins with an ascending interval then moves in leaps. It begins with a descending interval then moves by step. It begins with a descending interval then moves in leaps. [1] 12 (a) Where does this music come from? … [1] (b) Apart from the instruments used, give one reason for your answer. … … [1]

7 0410/13/O/N/20 © UCLES 2020 [Turn over Music B2 You will hear an extract from a piece for instruments. Look at the skeleton score below and read through questions 13 to 15. 13 (a) Name the instrument that plays the printed melody (after the two-bar introduction). … [1] (b) How is this instrument played? … [1] (c) Name the scale used in the printed extract. … [1] 14 Comment on the way the soloist performs the printed melody. … … [2] 15 Where does this music come from? … [1]

8 0410/13/O/N/20 © UCLES 2020 Music B3 (World Focus: Arabic Music) You will hear two passages from an extract of Egyptian Shaabi music separated by a short gap. Read through questions 16 to 18. 16 (a) Name the melody instrument which alternates with the voice in the first passage. … [1] (b) Describe the main musical features of the first passage. … … … … [3] (c) What is this section of the song called? … [1] 17 (a) How does the music change for the second passage? … … … [2] (b) What feature of the vocal part is typical of this part of a Shaabi song? … … [1] 18 (a) Name one way in which Shaabi songs can be shared. … [1] (b) In what context are Shaabi songs often heard today? … [1]

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10 0410/13/O/N/20 © UCLES 2020 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 19 to 24. Answer the questions in this Question Paper. 19 (a) Name precisely the percussion instrument heard in the first four bars of the extract. … [1] (b) What is the texture of bars 1–4? … [1] 20 Name the bracketed interval in bar 9. … … [2] 21 Complete the rhythm of bars 25–27 on the stave below. (The same rhythm is heard in bars 34–36.) [3] 22 (a) Which of the following is heard in bars 37–38? Ascending broken chord Ascending scale Descending broken chord Descending scale [1] (b) What instrument is it played by? … [1]

11 0410/13/O/N/20 © UCLES 2020 [Turn over 23 (a) Name the key and cadence in bars 46–47. Key: … Cadence: … [2] (b) What is the relationship of this key to the tonic key of the extract? … [1] 24 (a) What type of music is this? March Minuet Oratorio Waltz [1] (b) Give three reasons for your answer. … … … … [3]

12 0410/13/O/N/20 © UCLES 2020 SECTION D [16 marks] Set Work Answer all the questions on one set work: either Mozart: Piano Concerto No. 21, K. 467: Movement 1 (questions 25 to 31) or Rossini: William Tell Overture (questions 32 to 40) Mozart: Piano Concerto No. 21 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 25 to 27. 25 (a) Explain why the theme at the start of the extract could be considered to be the true solo second subject. … … … … [3] (b) How is the piano melody accompanied in bars 1–4? … … [1] 26 Describe the music played by the piano from bar 20. … … … [2]

13 0410/13/O/N/20 © UCLES 2020 [Turn over 27 On the stave below, write the third and fourth notes of the viola part in bar 21 in the treble clef. [2]

14 0410/13/O/N/20 © UCLES 2020 Music D2 Look at the skeleton score, which you will find in the separate Insert, and read through questions 28 to 31. 28 Describe three features of bars 1–12 which could suggest a march. … … … … [3] 29 Which two of the following are heard in bars 20–23? Tick two boxes. Ascending sequence Descending sequence Dominant pedal Imitation Tonic pedal Suspensions [2] 30 (a) Which part of the exposition begins at bar 28? … [1] (b) Why is this still in the tonic? … … [1] 31 What is played next in the movement, immediately after the recorded extract? … [1]

15 0410/13/O/N/20 © UCLES 2020 [Turn over Rossini: William Tell Overture 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 32 to 35. 32 On the stave below, write both viola notes in bar 9 in the treble clef. [2] 33 Explain how Rossini uses ideas from earlier in the piece (before the recorded extract) to show a storm dying away. … … … … … [4] 34 What is played next in the overture, immediately after the recorded extract? … [1] 35 Where was the opera William Tell first performed? La Scala Paris Opéra Royal Opera House Théâtre Italien [1]

16 0410/13/O/N/20 © UCLES 2020 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 36 to 40. 36 Comment on the harmony and cadences in bars 1–8. … … … [2] 37 All of the instruments in bar 17 are marked tutta forza. What does this mean? … [1] 38 (a) What is the key of the music in bars 33–40? … [1] (b) What is the relationship of this key to the tonic key of Section Four of the overture? … [1] 39 Which theme is played next in the overture, immediately after the recorded extract? … [1] 40 What was the purpose of an operatic overture? … … … [2]

This document consists of 5 printed pages. © UCLES 2020 [Turn over Cambridge IGCSE™ MUSIC 0410/13 Paper 1 Listening October/November 2020 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 2020 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 October/November 2020 © UCLES 2020 Page 2 of 5 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 2020 © UCLES 2020 Page 3 of 5 Question Answer Marks 1(a) Soprano 1 1(b) Recitative 1 2 Homophonic / melody and accompaniment 1 3 Major key / fast tempo / full ensemble / tutti / many voices / large chorus ref. to violin flourish at the end / ref. to rising shape / fanfare like (shape or rhythm) / loud 1 4 Opera 1 5(a) Baroque (1600–1750) 1 5(b) Small / string orchestra [1]. (Basso) continuo / lute / harpsichord [1]. Ornamentation [1] 2 6(a) Violin and piano (in any order) 2 6(b) Imitation / canon 1 7 The piano goes first [1]. The piano melody is in the left hand / bass [1]. It is in a different key [1]. Faster moving piano part / quavers / broken chords [1]. 2 8 Sonata 1 9(a) Romantic / nineteenth century 1 9(b) Chromatic (harmony) / modulation to a wide range of keys / lyrical melody. 1 10(a) Balafon / Xylophone 1 10(b) Kora 1 10(c) Plucked 1 11 It begins with an ascending interval then moves by step 1 12(a) Africa (accept any sub-Saharan African country) 1 12(b) Repetition / ostinato [1]. Instruments enter one by one [1]. 1 13(a) Dizi 1 13(b) Blown 1 13(c) Pentatonic 1 14 It is decorated [1] One mark per accurate identification of ornament e.g. trill, acciaccatura, mordent, glissando, passing notes [1]. It is performed with vibrato [1]. Accept legato / smoothly / slurred [1] 2 15 China 1 16(a) Nay 1

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2020 © UCLES 2020 Page 4 of 5 Question Answer Marks 16(b) Free rhythm / free tempo / unmetered / no clear beat [1]. Improvised [1]. Accompanied by a held chord / keyboard [1]. Nay plays at the end of the vocal phrases [1]. Crying intonation / plaintive / sad / ref. to ‘rough’ / nasal / raspy tone quality [1]. 3 16(c) Mawwal 1 17(a) Faster / lively [1]. Rhythm / it is metred [1] on drums / darbuka / tabla / riqq / tambourine [1]. More instruments playing / rest of ensemble joins (accept ref. to Western instruments) [1] 2 17(b) Repetitive (melody) 1 18(a) Cassette / mobile phones / internet / kiosks 1 18(b) At weddings 1 19(a) Snare / side drum (accept snare) 1 19(b) Monophonic / in octaves (accept unison) 1 20 Minor [1] seventh [1] (mark for minor only if seventh is correct) 2 21 Completely correct [3] Many elements correct [2] A few elements correct [1] Completely incorrect [0] 3 22(a) Descending scale 1 22(b) Flute and/or piccolo 1 23(a) Key: G minor [1] Cadence: Perfect [1] 2 23(b) Relative minor 1 24(a) Waltz 1 24(b) Fast tempo / one in a bar [1]. Triple time [1]. Um-cha-cha accompaniment / strong first beat [1]. Clear melody [1]. Succession of different melodies [1]. Mixture of legato and staccato articulation [1]. One chord per bar [1] 3 25(a) This theme is in the dominant (major) / G major [1] (accept goes from minor to major) The preceding theme is in the dominant minor / G minor [1] This theme returns in the tonic in the recapitulation [1] It is a lyrical melody [1] 3

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2020 © UCLES 2020 Page 5 of 5 Question Answer Marks 25(b) The piano left hand plays an alberti bass (accept broken chords) [1] There are off-beat / chords [1] played by the strings 1 26 It is virtuosic [1], with semiquaver [1] arpeggios / broken chords [1], (fleeting) dissonance / chromaticism [1], octaves [1] and use of sequence [1]. 2 27 One mark per note 2 28 C / quadruple time signature [1]. Brisk, but not too fast tempo [1]. Use of only tonic and dominant chords [1]. Triadic melodies [1]. Dotted rhythms [1]. Wind / brass used as a section [1] 3 29 Ascending sequence [1]. Dominant pedal [1] 2 30(a) Second subject 1 30(b) Because it is the opening ritornello / orchestral exposition 1 31 First subject / opening theme / march theme 1 32 One mark per note 2 33 Chromatic scales are used [1] but more fragmented [1] and then in longer note values [1]. The instruments are marked smorzando (dying away) or there is a diminuendo / it gets quieter [1]. The raindrop pattern is used [1]. 4 34 Ranz des vaches (Call to the cows) (accept any description, e.g. cor anglais solo) / Section 3 1 35 Paris Opéra 1 36 The harmony uses only tonic and dominant chords [1] Imperfect cadence (in bar 4) and a perfect cadence (in bar 8) [1] 2 37 Full power / full force / as loud as possible 1 38(a) C sharp minor 1 38(b) Relative minor 1 39 Theme C / theme from bar 17. 1 40 To give the audience time to settle [1]. To introduce themes which will be heard in the opera [1] to set the general mood / scene [1] accept introduce the opera. 2