Cambridge IGCSE Music 0410 — 2021 May/June Paper 1 · Variant 2

This document has 16 pages. Any blank pages are indicated. Cambridge IGCSE™ MUSIC 0410/12 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 [ ]. * 6 1 9 0 8 2 7 8 7 5 * DC (CJ/CB) 202998/2 © UCLES 2021 [Turn over

2 0410/12/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 two voices and orchestra. The words are printed below. Read through questions 1 to 5. 1 I go: my soul, inspired by thy command, thirsts for the battle. 2 I’m already crowned with the victorious wreath, and thou, fair prize, 3 More worth than fame or conquest, thou art mine. 4 These labours past, how happy we! 5 How glorious, glorious will they prove! 6 These labours past, how happy we! 7 How glorious, glorious will they prove! 8 These labours past, how happy, happy we! 9 How happy, how glorious, how glorious, how happy, 10 How glorious will they prove! 1 Which of the following best describes the melodic shape of line 1? Starts with an ascending interval then moves in leaps Starts with an ascending interval then moves by step Starts with a descending interval then moves in leaps Starts with a descending interval then moves by step [1] 2 Which of the following best describes lines 1–3? Aria Chorus Musical Recitative [1] 3 How is the vocal music of lines 6–7 related to lines 4–5? … … … [2]

3 0410/12/M/J/21 © UCLES 2021 [Turn over 4 What vocal effect is used on the word ‘glorious’ in line 10? … [1] 5 (a) When was this music written? Baroque Classical Romantic Twentieth Century [1] (b) Give two reasons for your answer. … … … [2]

4 0410/12/M/J/21 © UCLES 2021 Music A2 You will hear an extract for instruments. Look at the skeleton score and read through questions 6 to 10. 1 2 3 4 5 6 7 8 44 &bb Instrument? Key? Tempo? &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 6 What instrument plays the printed melody in bars 1–8? … [1] 7 What key is the music in? … [1] 8 Suggest a suitable Italian tempo marking. … [1] 9 (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 0410/12/M/J/21 © UCLES 2021 [Turn over 10 When was this music written? Baroque Classical Romantic Twentieth Century [1]

6 0410/12/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 two passages from a piece of music for instruments, separated by a short gap. Read through questions 11 to 13. 11 What is the main melody instrument? … [1] 12 (a) Describe the music of the first passage. … … … [2] (b) What features of the second passage contrast with the first? … … … [2] 13 Where does this music come from? … [1]

7 0410/12/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 What instrument first takes over the melody after the printed extract? … [1] 16 Describe some of the main musical features of the extract (not including the introduction). … … … … [2] 17 Where does this music come from? … [1]

8 0410/12/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 0410/12/M/J/21 © UCLES 2021 [Turn over BLANK PAGE

10 0410/12/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 27. Answer the questions in this booklet. 22 What key is the music in at the beginning? … [1] 23 (a) What instrument first plays the printed melody in bars 1–18? … [1] (b) Describe the relationship between this instrument and another instrument playing the melody in this passage. … … … [2] 24 Name the bracketed interval in bars 3–4. … … [2] 25 The melody is incomplete in bars 13–14. Fill in the missing notes on the stave below. The rhythm has been given to help you. [3] 26 The melody of bars 1–18 is repeated louder after the printed extract. In what other ways is the music different? … … … [2]

11 0410/12/M/J/21 © UCLES 2021 [Turn over 27 (a) When was this music written? Baroque Classical Romantic Twentieth Century [1] (b) Give three reasons for your answer. … … … … [3] (c) Who composed this music? Bach Beethoven Shostakovich Tchaikovsky [1]

12 0410/12/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 28 to 35) or Mendelssohn: Calm Sea and Prosperous Voyage (questions 36 to 45). 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 28 to 31. 28 How is the music in bars 1–121 different from when it was first heard in the movement (before the recorded extract)? … … … … … [4] 29 Name precisely the section of the movement from which this extract is taken. … [1] 30 (a) What key has the music reached at the end of the extract? … [1] (b) What is the relationship of this key to the tonic key of the movement? … [1] 31 In which venue in Vienna was this concerto first performed? Burgtheater Mehlgrube Musikverein The State Opera [1]

13 0410/12/M/J/21 © UCLES 2021 [Turn over Music D2 Look at the skeleton score, which you will find in the separate Insert, and read through questions 32 to 35. 32 Describe Mozart’s orchestration (use of instruments) in bars 1–8 of the extract. … … … [2] 33 Which one of the following compositional devices is heard in bars 9–16? Ascending sequence Canon Descending sequence Pedal [1] 34 (a) Name the cadence in bars 19–20. … [1] (b) Explain and describe what is played by the piano in bar 20. … … … [2] 35 On the stave below, write the last two notes of the viola part in bar 53 in the treble clef. & [2]

14 0410/12/M/J/21 © UCLES 2021 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 36 to 40. 36 (a) How is the flute melody in bars 1 and 2 accompanied? Alberti bass Dominant pedal Ground bass Tonic pedal [1] (b) The flute part in bar 2 is marked perdendosi. What does this mean? … [1] 37 What happens in beats 1–3 of bar 3 (before the printed flute part)? … … [1] 38 On the stave below, write out the first two notes of the clarinet part in bar 29 at sounding pitch. The key signature has been given. &## [2] 39 Where does this extract come in the overall structure of the overture? … … … [2]

15 0410/12/M/J/21 © UCLES 2021 [Turn over 40 When was this piece first publicly performed and published? 1809 1812 1832 1847 [1]

16 0410/12/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 41 to 45. 41 (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] 42 What do the trumpets play in bars 13–15? … … [1] 43 (a) What key does the music reach at bar 57? … [1] (b) What is its relationship to the tonic key of the overture? … [1] 44 What theme do the cellos play in bars 65–72 (as the extract continues after the printed score)? … … [1] 45 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 0410/12 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.

0410/12 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.

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 3 of 6 Question Answer Marks 1 Starts with an ascending interval then moves in leaps 1 2 Recitative 1 3 The music of lines 4–5 is repeated in lines 6–7 (accept similar melodic shape / imitation) [1] at a lower / different pitch / by an alto / male soloist. [1] 2 4 Melisma (or accurate description of a melisma) 1 5(a) Baroque 1 5(b) Use of harpsichord / lute / (basso) continuo [1]. Ornamentation [1]. Sequences [1]. Suspensions [1]. Small / string orchestra [1]. 2 6 Violin 1 7 G minor 1 8 Allegro (accept Allegro moderato / Allegretto) 1 9(a) The melody is played by piano [1] and the violin plays a counter melody / accompaniment (accept any description) [1]. A cello has been added playing the bass line [1] The piano and violin swap roles [1] 2 9(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 less detailed description 2 10 Romantic 1 11 Bansuri 1 12(a) A string instrument plays a (rapidly) descending scale [1] three times. There is a drone [1]. The bansuri mostly plays low / long / sustained / legato notes [1]. The melody is improvised [1]. The tempo is slow / rhythm is free [1]. 2 12(b) Tabla are now playing [1] complicated / virtuosic rhythmic patterns [1]. The bansuri is playing higher / more [1]. The music is faster / more energetic / more metred [1]. 2 13 India 1 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 (but less precisely) 2 15 Bandoneon 1

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 4 of 6 Question Answer Marks 16 The music is in a minor key and the tempo is quite fast. The first melody is played in unison and accompanied by very short staccato chords and a pizzicato bass line. The strings play a legato melody at the end in longer notes, whilst the piano plays the original bandoneon melody. 2 – Some features accurately described 1 – A few features described (but less precisely) 2 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 E flat (major) 1 23(a) Clarinet 1 23(b) It is a canon / they repeat the music / imitate the melody [1] one bar later [1] and one octave lower [1] 2 24 Perfect [1] Fourth [1] (fourth must be correct to get the mark for perfect) 2 25 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 melodic accuracy 0 3 26 The melody is played by the strings (accept violins) / the strings are added / played by many more instruments [1] in parallel harmonies [1]. There is no longer a canon / they play together [1]. There is a strong accent on the third beat [1]. 2

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 5 of 6 Question Answer Marks 27(a) Twentieth Century 1 27(b) High clarinet part [1]. Ostinato accompaniment [1]. Piano in the orchestra [1]. Ref. to unusual harmonies (in the repeated melody) [1]. 3 27(c) Shostakovich 1 28 The piano now has the melody / is used / is playing / the violins had the melody before [1] and the (piano also plays) triplet quavers [1]. The 1st violins / all strings have the pizzicato accompaniment [1]. The leaps are larger (bars 8 and 10) [1] The dynamic stays piano / there is no sfp [1] There is no use of F minor [1] The theme is extended [1] to end on a tonic perfect cadence [1] 4 29 Solo exposition 1 30(a) D minor 1 30(b) Relative (minor) 1 31 Burgtheater 1 32 The violins play the melody [1] The wind/brass/timpani join for the cadences / end of phrases / play every two bars [1] 2 33 Ascending sequence 1 34(a) Imperfect 1 34(b) An Eingang / lead-in [1] A short improvisation [1] Trills / scalic passagework / a repeated melodic shape / descending sequence [1] 2 35 One mark per note 2 36(a) Dominant pedal 1 36(b) Dying away 1 37 Woodwind play rising octave As. 1

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 6 of 6 Question Answer Marks 38 One mark per note 2 39 It is the introduction and linking/opening section [1] before the main sonata form section begins [1] OR it is the end of Calm Sea [1] and the start of Prosperous Voyage [1] 2 40 1832 1 41(a) In the transition 1 41(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 42 Fanfares / rising fourths [1] from the end of the exposition [1]. 1 43(a) A minor 1 43(b) Dominant minor 1 44 Second subject / theme 1 45 Development 1