Cambridge IGCSE Music 0410 — 2021 May/June Paper 1 · Variant 1

This document has 16 pages. Any blank pages are indicated. DC (RW/SG) 205437/1 © UCLES 2021 [Turn over * 4 6 1 1 8 9 2 9 5 7 * MUSIC 0410/11 Paper 1 Listening May/June 2021 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. ● 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. ● Write your answer to each question in the space provided. ● 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 [ ]. Cambridge IGCSE™

2 0410/11/M/J/21 © UCLES 2021 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 for voice and instruments. The words used are printed below. Read through questions 1 to 7. 1 In this shady blest retreat 2 I’ve been waiting for my dear [Orchestra] 3 I’ve been waiting for my dear. 4 Hark I hear 5 Hark I hear his welcome feet 6 Tell the lovely charmer near 7 Hark I hear his welcome feet 8 Tell the lovely charmer near 9 Tell the lovely charmer near 10 Tell the lovely charmer 11 The lovely charmer near 12 Tell the lovely charmer near 13 Tell the lovely charmer near 1 What type of voice is heard in this extract? … [1] 2 How many beats are there in each bar? … [1] 3 What is played by the orchestra between lines 2 and 3? … … [1]

3 0410/11/M/J/21 © UCLES 2021 [Turn over 4 Which of the following best describes the melodic shape of the accompanying instruments during line 4? Ascending major scale Ascending minor scale Descending major scale Descending minor scale [1] 5 What instrument is heard at the end of line 6 and in the middle of line 7 (after ‘Hark I hear’)? … [1] 6 What vocal effect does the singer use on the word ‘charmer’ in line 10? … [1] 7 This music was written in the Classical period. What features of the music suggest this? … … … [2]

4 0410/11/M/J/21 © UCLES 2021 Music A2 You will hear an extract for instruments. Look at the skeleton score and read through questions 8 to 11. 1 2 3 4 5 6 7 8 44 &bb Instrument? Articulation? Key? &bb Extract continues... ˙ œ œ ˙ œ œ œ œ œ œ# ™œ œ œ ˙™ œ œ œ™œ œ œ™œ œJ ‰ œ œ™ œJ œ œ œ œ œ œ œ œ w 8 (a) What instrument plays the printed melody in bars 1–8? … [1] (b) What term describes the articulation of this melody? … [1] 9 What key is the music in? … [1] 10 (a) The extract continues with a repeat of the melody. Explain how the roles of the instruments change. … … … [2] (b) During this repeat, the melody changes from the end of bar 6. Explain how it changes. … … … [2]

5 0410/11/M/J/21 © UCLES 2021 [Turn over 11 When was this music written? Baroque Classical Romantic Twentieth Century [1]

6 0410/11/M/J/21 © UCLES 2021 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 12 to 13. 12 (a) Name two of the melody instruments. … [2] (b) What type of scale do they use? … [1] 13 (a) Where does this music come from? … [1] (b) Give two reasons for your answer. Do not repeat any information already given. … … … [2]

7 0410/11/M/J/21 © UCLES 2021 [Turn over Music B2 You will hear an extract for instruments. Look at the skeleton score and read through questions 14 to 17. 44 44 &# Introduction &# &# &# &# Extract continues... œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œn œ œ œ œ œ œ œ œ œ œ# œ œ œ# œ# œ œ œ œn œ œ œ# œ œ œ œ œ œ œn œ# œ œ œn œn œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œn œ œ œ œ œ œ œ œ œ œ# œ œ œ# œ# œ œ œ œn œ œ œ# œ œ œ œ œ œ 14 Briefly describe the music of the introduction. … … … [2] 15 Describe the music of the accompaniment to the printed melody. … … … [2] 16 What instrument first takes over the melody after the printed extract? … [1] 17 Where does this music come from? … [1]

8 0410/11/M/J/21 © UCLES 2021 Music B3 (World Focus: Caribbean Music) You will hear an extract of reggae music. The words are printed below. Read through questions 18 to 21. [Instrumental section] 1 Know Jah today, and not tomorrow. 2 Know Jah today, and there’ll be no sorrow. 3 Tomorrow will be too late and you’ll be knocking on the gate. 4 So don’t, don’t let this chance pass you by, 5 You don’t, don’t know what lies ahead. 18 Explain the reference to ‘Jah’ in the lyrics. … [1] 19 Describe the music of the backing singers in relation to the lead singer. … … … [2] 20 What other features of the extract are typical of the reggae style? … … … … … [4] 21 (a) Which island does reggae come from? … [1] (b) How did it first become popular there? … … … [2]

9 0410/11/M/J/21 © UCLES 2021 [Turn over BLANK PAGE

10 0410/11/M/J/21 © UCLES 2021 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 for instruments. Look at the skeleton score, which you will find in the separate Insert, and read through questions 22 to 29. Answer the questions in this booklet. 22 What is the texture of the music in bars 1–3? … [1] 23 What instrument plays the printed music in bars 4–51? … [1] 24 Name the bracketed interval in bar 5. … … [2] 25 The melody is incomplete in bar 10. Fill in the missing notes on the stave below. The rhythm has been given to help you. [3] 26 Name the compositional device used in bars 144–163. … [1] 27 (a) Name the key and cadence in bar 21. Key: … Cadence: … [2] (b) What is the relationship of this key to the tonic key of the extract? … [1]

11 0410/11/M/J/21 © UCLES 2021 [Turn over 28 What type of piece is this? Concerto Oratorio Sonata Symphony [1] 29 (a) When was this music written? Baroque Classical Romantic Twentieth Century [1] (b) Give three reasons for your answer. … … … … [3]

12 0410/11/M/J/21 © UCLES 2021 SECTION D [16 marks] Set Work Answer all the questions on one set work: either Mozart: Piano Concerto No. 21 (questions 30 to 38) or Mendelssohn: Calm Sea and Prosperous Voyage (questions 39 to 47) 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, which you will find in the separate Insert, and read through questions 30 to 34. 30 In the extract the upper string part is marked Con sordino. What does this mean? … [1] 31 Describe in detail what is played by the 2nd violins, violas, cellos and basses in the extract. … … … [2] 32 (a) What size is the interval between the first two notes in bar 8? … [1] (b) Discuss the use of this interval throughout the movement as a whole. … … … [2] 33 From which section of the movement is this extract taken? … [1]

13 0410/11/M/J/21 © UCLES 2021 [Turn over 34 In which venue in Vienna was this concerto first performed? Burgtheater Mehlgrube Musikverein The State Opera [1]

14 0410/11/M/J/21 © UCLES 2021 Music D2 Look at the skeleton score, which you will find in the separate Insert, and read through questions 35 to 38. 35 Describe Mozart’s orchestration (use of instruments) in bars 1–8 of the extract. … … … [2] 36 Which one of the following compositional devices is heard in bars 9–16? Ascending sequence Canon Descending sequence Pedal [1] 37 (a) Name the cadence in bars 19–20. … [1] (b) Explain and describe what is played by the piano in bar 20. … … … [2] 38 On the stave below, write the last two notes of the viola part in bar 54 in the treble clef. [2]

15 0410/11/M/J/21 © UCLES 2021 [Turn over Mendelssohn: Calm Sea and Prosperous Voyage 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 39 to 42. 39 (a) Briefly explain the harmony of bars 1–20. … … … [2] (b) What section of the overture begins in bar 21? … [1] 40 (a) All of the strings in bar 29 are instructed to play marcato. What does this mean? … [1] (b) Where is this melody derived from? … … [1] 41 On the stave below, write the first two notes of the viola part in bar 31 in the treble clef. [2] 42 This overture is an example of programme music – what does this term mean? … … [1]

16 0410/11/M/J/21 © UCLES 2021 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 43 to 47. 43 (a) Where was the melody which starts in bar 1 first heard in the overture (before the recorded extract)? … [1] (b) How is this music different from when it was first heard? … … … [2] 44 What do the trumpets play in bars 13–15? … … [1] 45 What might the music in bars 16–64 be describing? … … [1] 46 (a) What key does the music reach at bar 57? … [1] (b) What is its relationship to the tonic key of the overture? … [1] 47 What section of the overture is this extract taken from? … [1]

This document consists of 6 printed pages. © UCLES 2021 [Turn over Cambridge IGCSE™ MUSIC 0410/11 Paper 1 Listening May/June 2021 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 2021 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 May/June 2021 © UCLES 2021 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 May/June 2021 © UCLES 2021 Page 3 of 6 Question Answer Marks 1 Soprano 1 2 4 (accept 2) 1 3 Repetition of the music from line 1 1 4 Descending major scale 1 5 Flute(s) / horn 1 6 Melisma 1 7 Small orchestra [1] Balanced phrases [1] Diatonic / functional harmony [1] Melodies using scalic patterns [1] Homophonic / melody and accompaniment texture [1] 2 8(a) Violin 1 8(b) Legato 1 9 G minor 1 10(a) The melody is played by piano [1] and the violin plays a counter melody / accompaniment [1]. A cello has been added playing the bass line [1] The piano and violin swap roles [1] 2 10(b) The octave jump is repeated a tone higher / played in sequence [1] and is used again in the following bar [1]. The descending quaver pattern is not played / is delayed until after the repeated octave jumps etc [1]. There is an extra descending quaver sequence [1]. Allow [1] for a convincing but less detailed description, e.g. the leaps continue 2 11 Romantic 1 12(a) Dizi [1] / Erhu [1] / Sheng [1] 2 12(b) Pentatonic 1 13(a) China 1 13(b) Pitch bending / ornamentation [1] 4/4 time [1] Repeated melodic phrases [1] Woodblock marking the beat [1] 2

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 4 of 6 Question Answer Marks 14 Instruments (strings and bandoneon) play a short phrase in unison / octaves followed by a piano cadenza / improvisation (accept any description). The piano plays in octaves and uses glissando. The other instruments interject during the cadenza. 2 – Some features accurately described 1 – A few features described 2 15 Very short / staccato chords [1] and a pizzicato / walking / stepwise bass line [1] 2 16 Bandoneon 1 17 Latin America / Argentina 1 18 Jah is the (Rastafarian) God. 1 19 They initially sing occasional answering phrases / interjections [1] in harmony [1], then provide wordless [1] harmonies. 2 20 Instrumentation: trumpets / trombones (brass) / electric guitar / bass guitar (guitars) / drum kit (accept max 2) Rhythm etc: 4 beats per bar [1], relaxed tempo [1], emphasis on beats 2 and 4 (off beats) by the guitar chords / ref. to empty strong beats / one drop [1]. 4 21(a) Jamaica 1 21(b) It was spread by the recording industry [1] and played via sound systems [1] which were mobile speaker systems transported on trucks / around town [1]. 2 22 Monophonic / unison / single melodic line 1 23 Oboe 1 24 Major [1] sixth [1] (mark for major only if sixth is correct) 2 25 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 26 Sequence 1

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 5 of 6 Question Answer Marks 27(a) Key: F (major) [1] Cadence: Perfect [1] 2 27(b) Relative (major) 1 28 Concerto 1 29(a) Baroque 1 29(b) Harpsichord / (basso) continuo [1] Use of ornamentation / decoration [1] Small orchestra / strings only [1] Diatonic harmony [1] (Mostly) continuously moving bass line [1] 3 30 With mutes / muted 1 31 2nd violins / violas: repeated notes / in triplet (quavers). Cellos / basses: outline the triad / play on beats 1, 2 and 3 / pizzicato. A full description including both upper and lower strings [2] A partial description [1] 2 32(a) 17th / compound third / compound tenth 1 32(b) In the Solo Exposition the leaps are larger / more than three octaves [1]. The Development begins with a rising tenth / possibly an inversion of the leaping theme [1]. In the Recapitulation the leaps ascend rather than descend [1]. Large / descending leaps are also heard at the end of the Recapitulation [1]. Credit answers which refer to inversion [1], larger leaps [1] and smaller intervals [1] without reference to where in the movement. 2 33 (Orchestral) ritornello 1 34 Burgtheater 1 35 The violins play the melody [1] The wind/brass/timpani join for the cadences / end of phrases / play every two bars [1] 2 36 Ascending sequence 1 37(a) Imperfect 1 37(b) An Eingang / lead-in [1] A short improvisation [1] Trills / scalic passagework / a repeated melodic shape / descending sequence [1] 2 38 One mark per note 2

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 6 of 6 Question Answer Marks 39(a) It is dominant seventh / A7 harmony [1] over a (dominant) pedal [1] preparing for the tonic / D major [1]. 2 39(b) Exposition 1 40(a) Marked / accented 1 40(b) From the opening motif (in the double bass) (accept bar 1) 1 41 One mark per note 2 42 Music which tells a story or sets a scene, without using words 1 43(a) In the transition 1 43(b) It is played by woodwind only / violins do not play the melody [1] and it is quiet / piano / it used to be loud [1] 2 44 Fanfares / rising fourths [1] from the end of the exposition [1]. 1 45 A storm (on the horizon) 1 46(a) A minor 1 46(b) Dominant minor 1 47 Development 1