Cambridge IGCSE Music 0410 — 2021 May/June Paper 1 · Variant 3

This document has 16 pages. Any blank pages are indicated. Cambridge IGCSE™ DC (PQ/SW) 202994/2 © UCLES 2021 [Turn over * 7 8 9 9 3 0 5 3 8 1 * MUSIC 0410/13 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 [ ].

2 0410/13/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 Which of the following best describes the melody of line 1? Ascending major scale Ascending minor scale Descending major scale Descending minor scale [1] 2 What type of voice is heard in this extract? … [1] 3 How many beats are there in each bar? … [1] 4 What is played by the orchestra between lines 2 and 3? … … [1]

3 0410/13/M/J/21 © UCLES 2021 [Turn over 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 0410/13/M/J/21 © UCLES 2021 Music A2 You will hear an extract from an instrumental piece. Read through questions 8 to 11. 8 Name the instrument. … [1] 9 What is the texture of the music? … [1] 10 (a) Which of the following best describes this music? Concerto March Minuet Waltz [1] (b) Give two reasons for your answer. … … … [2]

5 0410/13/M/J/21 © UCLES 2021 [Turn over 11 (a) When was this music written? Baroque Classical Romantic Twentieth Century [1] (b) Give a reason for your answer. … … [1] (c) Who composed this music? Handel Haydn Schumann Stravinsky [1]

6 0410/13/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 for voices and drum. Read through questions 12 to 13. 12 (a) Describe in detail the music in the first part of the extract (before the drum enters). … … … [2] (b) What happens in the second part of the extract? … … … … [3] 13 Where does this music come from? … [1]

7 0410/13/M/J/21 © UCLES 2021 [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 15. Melody instrument? Accompaniment? 1 2 3 4 5 6 7 8 44 &bb &bb Extract continues... 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™ œJ œ œ œ œ œ™ œJ œ œ œ œ œ œ œ œ œ œ œ œ ˙ 14 (a) Name one of the instruments which play the printed melody. … [1] (b) Describe the accompaniment in these bars. … … … [2] 15 (a) Where does this music come from? … [1] (b) Apart from the instruments used, give two reasons for your answer. … … … [2]

8 0410/13/M/J/21 © UCLES 2021 Music B3 (World Focus: Caribbean Music) You will hear an extract from a calypso. The words of the first two lines are printed below. Read through questions 16 to 22. 1 Matilda, Matilda, Matilda 2 She take me money and run Venezuela [Extract continues] 16 Describe briefly what is heard between the words ‘Matilda’ in line 1. … [1] 17 In line 1 the word Matilda is sung first to chord I, then chord IV. Which chord is used the third time it is sung? Chord I Chord II Chord IV Chord V [1] 18 Complete the table below to show the structure of this extract. Chorus … … Instrumental … [1] 19 Name the instrument which plays the solo in the instrumental section. … [1] 20 What features of the metre, tempo and rhythm of this song are typical of calypso? … … … … [3]

9 0410/13/M/J/21 © UCLES 2021 [Turn over 21 What is the mode of this song? … [1] 22 (a) Where in the Caribbean did calypso originate? … [1] (b) In what type of venue was calypso originally sung? … [1]

10 0410/13/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 23 to 30. Answer the questions in this booklet. 23 What is the texture of the music in bars 1–3? … [1] 24 What instrument plays the printed music in bars 4–51? … [1] 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 Name the bracketed interval in bar 18. … … [2] 28 (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 0410/13/M/J/21 © UCLES 2021 [Turn over 29 What type of piece is this? Concerto Oratorio Sonata Symphony [1] 30 (a) When was this music written? Baroque Classical Romantic Twentieth Century [1] (b) Give three reasons for your answer. … … … … [3]

12 0410/13/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 31 to 39) or Mendelssohn: Calm Sea and Prosperous Voyage (questions 40 to 48) 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 31 to 35. 31 In the extract the upper string part is marked Con sordino. What does this mean? … [1] 32 Describe in detail what is played by the 2nd violins, violas, cellos and basses in the extract. … … … … [2] 33 (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] 34 What do the horns play in bars 11–16? … [1] 35 From which section of the movement is this extract taken? … [1]

13 0410/13/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 36 to 39. 36 (a) How is the theme in bars 1–9 different from when it was first played in the movement (before the recorded extract)? … … … [2] (b) What does the piano play in bars 11–15? … [1] 37 On the stave below, write the first two notes of the viola part in bar 62 in the treble clef. [2] 38 (a) Name precisely the chord in bar 64. … [1] (b) What is heard next in the movement (immediately after the recorded extract)? … [1] 39 Where was the first performance of this piano concerto? Prague Salzburg Vienna Warsaw [1]

14 0410/13/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 40 to 43. 40 (a) Briefly explain the harmony of bars 1–20. … … … [2] (b) What section of the overture begins in bar 21? … [1] 41 (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] 42 On the stave below, write the first two notes of the viola part in bar 31 in the treble clef. [2] 43 What rhythmic effect is created from bar 37? … … [1]

15 0410/13/M/J/21 © UCLES 2021 Music D4 Look at the skeleton score, which you will find in the separate Insert, and read through questions 44 to 48. 44 This extract is the transition theme from the recapitulation. Describe three differences between this appearance of the theme and how it appeared earlier in the movement (before the recorded extract). … … … … [3] 45 How is the melody in bars 41–432 related to music from earlier in the overture (before the recorded extract)? … … [1] 46 The serpent plays in this extract. What is this instrument, and what would be most likely to play its part in a modern performance? … … … [2] 47 Explain what is unexpected about the music which follows this section (after the recorded extract). … … [1] 48 What is the tempo marking of this part of the overture? … [1]

16 0410/13/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. BLANK PAGE

This document consists of 6 printed pages. © UCLES 2021 [Turn over Cambridge IGCSE™ MUSIC 0410/13 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.

0410/13 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.

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 3 of 6 Question Answer Marks 1 Ascending major scale 1 2 Soprano 1 3 4 (accept 2) 1 4 Repetition of the music from line 1 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 Piano 1 9 Homophonic/melody and accompaniment (accept piano duet) 1 10(a) March 1 10(b) Steady/regular beat/tempo/pulse [1] Walking pace [1] (accept moderately fast/Andante) (Mostly) duple time [1] (accept quadruple/four beats) Triadic/fanfare like melodies [1] (Occasional) dotted rhythms [1] 2 11(a) Twentieth Century 1 11(b) Bitonality/dissonance/wrong-note harmony/ostinato 1 11(c) Stravinsky 1 12(a) It begins with a solo/female/monophonic texture [1], answered by a (female) chorus/group [1] in parallel harmony [1]. The group always sing the same melodic shape [1]. It uses call and response [1] and is in a major key [1] 2 12(b) Male voice(s)/tenor(s)/bass(es) sing [1] a wordless (bass) line [1] with detached notes [1] and a wide range [1]. The drum plays an ostinato/the males sing an ostinato [1] and the females continue/still call and response [1]. 3 13 Africa 1 14(a) Dizi or erhu 1 14(b) Tambourine on beats 2 and 4/offbeat [1] Plucked/string offbeat chords [1] Plucked string bass line [1] Woodblock on every beat [1] (No marks for just naming instruments) 2 15(a) China 1

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 4 of 6 Question Answer Marks 15(b) Pentatonic scale [1] Pitch bending/ornamentation [1] 4/4 time [1] Repeated melodic phrases [1] 2 16 A solo voice/sings wordlessly/(three) stepwise notes/in an ascending shape [1] 1 17 Chord V 1 18 Chorus Verse (accept solo) Chorus Instrumental Chorus Completely correct [1] 1 19 (Penny) whistle (accept fife) 1 20 Duple metre (accept quadruple/4/4) [1] Off-beat / syncopated rhythm [1] Fast tempo [1] 3 21 Major 1 22(a) Trinidad and Tobago 1 22(b) Tents 1 23 Monophonic/unison/single melodic line 1 24 Oboe 1 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 27 Perfect [1] fifth [1] (mark for perfect only if fifth is correct) 2 28(a) Key: F (major) [1] Cadence: Perfect [1] 2

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 5 of 6 Question Answer Marks 28(b) Relative (major) 1 29 Concerto 1 30(a) Baroque 1 30(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 31 With mutes/muted 1 32 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 33(a) 17th/compound third/compound tenth 1 33(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 34 A (dominant) pedal/the note C 1 35 (Orchestral) ritornello 1 36(a) It is now in the tonic/C major/it was originally in the dominant/G major [1] It is at a lower pitch [1] It is played by the piano (with string accompaniment)/it was originally played by woodwind and horns [1] 2 36(b) Running passagework/scalic/semiquavers 1 37 One mark per note 2 38(a) C major 2nd inversion/Tonic 2nd inversion/Ic 1 38(b) The cadenza 1 39 Vienna 1

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2021 © UCLES 2021 Page 6 of 6 Question Answer Marks 40(a) It is dominant seventh/A7 harmony [1] over a (dominant) pedal [1] preparing for the tonic/D major [1] 2 40(b) Exposition (accept First subject) 1 41(a) Marked/accented 1 41(b) From the opening motif (in the double bass) (accept bar 1) 1 42 One mark per note 2 43 Cross-rhythms/accept ref. to triplet (crotchets) against quavers 1 44 It is now in the tonic/D major OR not in the dominant/A major [1]. Fewer instruments accompany [1] and the dynamic is piano/not forte [1]. The theme is played only by first clarinets/not played by both clarinets [1]. 3 45 It is the first subject in augmentation 1 46 A woodwind instrument with a brass mouthpiece (accept any suitable ref.) [1]. It would now be played by a contrabassoon (accept tuba) [1]. 2 47 The music goes straight to the Coda/omits the second subject 1 48 Molto allegro e vivace 1