Cambridge IGCSE Music 0410 — 2021 Oct/Nov Paper 1 · Variant 1

This document has 16 pages. Any blank pages are indicated. DC (RW) 205434/1 © UCLES 2021 [Turn over * 3 1 2 3 1 6 2 4 7 6 * MUSIC 0410/11 Paper 1 Listening October/November 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/O/N/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 instruments. The words are printed below. Read through questions 1 to 4. [Instrumental introduction] (Mm) 1 Who walks in when I walk out and who gives you that ‘Hi, baby’? 2 Who’s it who got me jealous of you? 3 Who walks in when I walk out? Now, don’t you know you’re my baby? 4 Who’s it who got me worrying too? 5 Now when we kiss, I kinda miss something that used to be. 6 Everyday while I’m away I get a feeling that you’re fooling me. 7 (Oh) who walks in when I walk out and who gives you that ‘Hi, baby’? 8 Who’s it who got me jealous of you? [Instruments continue] 1 How many beats are there in each bar? … [1] 2 Which of the following best describes the melodic shape of line 1? A descending interval followed by notes mostly moving by step A descending interval followed by notes mostly moving in leaps An ascending interval followed by notes mostly moving by step An ascending interval followed by notes mostly moving in leaps [1]

3 0410/11/O/N/21 © UCLES 2021 [Turn over 3 How is the music of line 7 different from line 1? … … … [2] 4 (a) What style of music is this? … [1] (b) Give three reasons for your answer. … … … … [3]

4 0410/11/O/N/21 © UCLES 2021 Music A2 You will hear an extract for instruments. Look at the skeleton score below and read through questions 5 to 6. 1 2 3 4 Extract continues... 5 6 7 8 68 24 & & 2 œ™ œ™ œ™ œ œ œ œ™ œ œJ œ™ œ œ œ œ™ œ œ œ™ œ œ œ œ™ œ™ œJ 5 The printed theme is heard three times. Complete the table below to explain the differences in how the theme and accompaniment are played the second and third times. Theme Accompaniment 1st playing The theme is played by the violins, doubled in octaves. All instruments play the same rhythm to harmonise the melody. The tonality is minor to begin with, but changes to major at the end. 2nd playing … … … … … … … … 3rd playing … … … … … … … … [6]

5 0410/11/O/N/21 © UCLES 2021 [Turn over 6 (a) When was this music written? Baroque Classical Romantic Twentieth Century [1] (b) Who composed this music? Bach Gershwin Haydn Tchaikovsky [1]

6 0410/11/O/N/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 instruments. Read through questions 7 to 10. 7 Describe the music played by the first instrument. … … … [2] 8 (a) Name the main melody instrument. … [1] (b) What interval does this instrument play when it first enters? … [1] 9 What other instrument is heard? … [1] 10 Where does this music come from? … [1]

7 0410/11/O/N/21 © UCLES 2021 [Turn over Music B2 You will hear an extract for instruments. Read through questions 11 to 14. 11 Describe the metre in the first half of the extract. … [1] 12 What scale is used in the second half of the extract (when more instruments join)? … [1] 13 Compare the texture of the first half of the extract with the second half. … … … … [3] 14 Where does this music come from? … [1]

8 0410/11/O/N/21 © UCLES 2021 Music B3 (World Focus: Caribbean Music) You will hear an extract of reggae music. The words of the first few lines are given below. Read through questions 15 to 19. 1 Stir it up little darling 2 Stir it up come on baby 3 Come on and stir it up, little darling 4 Stir it up. 5 It’s been a long, long time since I’ve got you on my mind 6 And now you are here I said it’s so clear… [Extract continues] 15 (a) Name precisely the first instrument heard. … [1] (b) Describe what this instrument plays throughout the extract. … … … [2] 16 Which of the following is played by the bass guitar in lines 1–4? Improvisation Ostinato Polyrhythm Semiquaver patterns [1] 17 Describe what is sung by the backing singers in lines 5 and 6. … … … [2]

9 0410/11/O/N/21 © UCLES 2021 [Turn over 18 How are the tempo and metre of this song typical of reggae? … … … [2] 19 (a) Which island does reggae come from? … [1] (b) Name one musical style which influenced reggae. … [1]

10 0410/11/O/N/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 from a theme and variations for piano. The complete theme (which is printed in the separate Insert) and the opening of two variations are separated by short pauses. Look at the skeleton score and read through questions 20 to 25. Answer the questions in this booklet. 20 What key is the music in at the beginning? … [1] 21 The melody is incomplete in bars 9–10. Fill in the missing notes on the stave below. The rhythm has been given to help you. [3] 22 What musical device is heard in bar 14? … [1] 23 Name the bracketed interval in bar 15. … … [2]

11 0410/11/O/N/21 © UCLES 2021 [Turn over 24 After the printed theme is heard, the extract continues with the opening of two variations. Describe similarities and differences between each variation and the theme. (a) Variation 1: … … … … [3] (b) Variation 2: … … … … [3] 25 (a) When was this music written? Baroque Classical Romantic Twentieth Century [1] (b) Give two reasons for your answer. … … … [2]

12 0410/11/O/N/21 © UCLES 2021 SECTION D [16 marks] Set Work Answer all the questions on one set work: either Mozart: Piano Concerto No. 21 (questions 26 to 33) or Mendelssohn: Calm Sea and Prosperous Voyage (questions 34 to 42). 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 26 to 30. 26 Name the key and cadence in bars 3–4. Key: … Cadence: … [2] 27 Comment on how the pianist performs bars 4–6 and explain why this is done. … … … [2] 28 What is rhythmically different about the accompaniment in bars 16–18 compared with the rest of the movement? … … [1] 29 (a) What section of the movement is the extract? … [1] (b) What section would be heard next in the movement (immediately after the recorded extract)? … [1] 30 What is the tempo marking of this movement? … [1]

13 0410/11/O/N/21 © UCLES 2021 [Turn over Music D2 Look at the skeleton score, which you will find in the separate Insert, and read through questions 31 to 33. 31 How is the appearance of the theme in bars 1–16 different from when it appeared at the beginning of the movement (before the recorded extract)? … … … … [3] 32 (a) What is the key of the music at bar 37? … [1] (b) What is the structure of the movement as a whole and how does the music from bar 37 fit into this structure? … … [2] 33 On the stave below, write the third and fourth notes of the viola part in bar 46 in the treble clef. [2]

14 0410/11/O/N/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 34 to 38. 34 (a) Where was the melody which starts in bar 1 first heard in the Exposition (before the recorded extract)? … [1] (b) How is this music different from when it was first heard? … … … [2] 35 How is the new theme in bar 21 related to material heard previously (before the recorded extract)? … … [1] 36 Describe and explain the function of the harmony in bars 41–56. … … … [2] 37 Explain how the rhythmic notation of bars 53–56 should be played. … … [1] 38 What part of the Exposition is this? … [1]

15 0410/11/O/N/21 © UCLES 2021 Music D4 Look at the skeleton score, which you will find in the separate Insert, and read through questions 39 to 42. 39 Comment on the tonality of bars 1–8, naming the keys. … … … [2] 40 (a) What theme is played by the clarinet in bar 13? … [1] (b) What do the accompanying violins play? Dominant pedal Tonic pedal Tremolo Trills [1] 41 On the stave below, write the first two notes of the clarinet part in bar 17 at sounding pitch. The key signature has been given. [2] 42 (a) What section of the overture starts in bar 35? … [1] (b) How is the music at this point different from when it was first heard in the overture (before the recorded extract)? … … [1]

16 0410/11/O/N/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 0410/11 Paper 1 Listening October/November 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 October/November 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 October/November 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 October/November 2021 © UCLES 2021 Page 3 of 6 Question Answer Marks 1 4 (accept 2) 1 2 An ascending interval followed by notes mostly moving in leaps 1 3 In line 7, the singer mostly uses one note/sings higher [1]. Ref. to half- speaking for ‘Hi baby’ [1]. There is an additional guitar solo in the accompaniment [1]. 2 4(a) Jazz 1 4(b) Swung rhythms/syncopation [1]. Drum kit/jazz band instrumentation (not just trumpets/brass – fuller description needed) [1]. Blue notes [1] Walking bass [1]. ‘Stab’ chords [1]. Improvised (guitar) solo [1]. 3 5 Theme Accompaniment 1st playing The theme is played by the violins, doubled in octaves. All instruments play the same rhythm to harmonise the melody. The tonality is minor to begin with, but changes to major at the end. 2nd playing It is played two octaves lower/by cellos/doubled an octave lower still by double basses [1]. There are longer/held notes [1] rather than a homorhythmic texture [1]. The tonality remains in a major key [1]. Accept violins play an octave lower [1]. There is an unexpected loud chord at the end [1]. 3rd playing The theme is played by violins/at the original octave [1]. The theme is changed at the end/shortened [1]. The double basses are not playing (accept only the upper strings/violins are heard) [1]. The tonality is minor [1]. The texture returns to being homorhythmic [1]. It ends with an imperfect cadence [1]. 3 marks for each playing, max 2 marks for accompaniment each time. 6 6(a) Romantic 1 6(b) Tchaikovsky 1 7 Repetitive/ostinato [1] A (low) bass line [1] followed by (higher) broken chords [1] It is minor [1] 2

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2021 © UCLES 2021 Page 4 of 6 Question Answer Marks 8(a) Panpipe 1 8(b) Octave/8th 1 9 Charango 1 10 South America 1 11 Free/unmetered 1 12 Pentatonic 1 13 First half is two-part texture (accept duet)/polyphonic [1]. In the second half, the two shakuhachis play in unison [1] and there is an accompaniment [1] by string instruments OR it is melody and accompaniment [1]. There is also a regular drum beat/a two note pattern on a metallic instrument [1]. 3 14 Japan 1 15(a) Rhythm/electric guitar 1 15(b) Staccato/short [1] Off-beat chords/chords on beats 2 and 4 [1] in pairs/as quavers/semiquavers [1] 2 16 Ostinato 1 17 They sing a countermelody/overlapping/another melody [1] with different but related words [1] and sing in harmony (wordlessly) between the two lines [1] at a high pitch/falsetto [1]. 2 18 It is slow/relaxed tempo [1] It is in 4/4/quadruple [1] 2 19(a) Jamaica 1 19(b) Ska [1], rocksteady [1], mento (accept Jamaican folk music/European/African music) [1] American jazz/rhythm and blues [1] 1 20 B flat (major) 1 21 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 22 Repetition 1

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2021 © UCLES 2021 Page 5 of 6 Question Answer Marks 23 Perfect [1] fourth [1] (fourth must be correct to get the mark for perfect) 2 24(a) The (right hand) melody is largely the same [1]. Tempo/harmony/cadences are the same [1]. A semiquaver pattern [1] based mostly on scales [1] has been added (to the left hand). 3 24(b) The melody is still the same [1] but it is in the left hand/bass [1] and is harmonised/played in chords [1]. A trill [1], broken chord/arpeggio [1] and then scales [1] have been added in the right hand. 3 25(a) Classical 1 25(b) Regular/balanced phrases [1]. Simple/diatonic harmony [1]. Homophonic texture/melody and accompaniment [1]. 2 26 Key: G minor [1] Cadence: Perfect [1] 2 27 There is added decoration/there is a scale/stepwise movement between the G and B flat/the B flat in bar 5 is repeated/there is an added appoggiatura/B flat at the start of bar 6/the A in bar 6 is repeated [1]. It is what Mozart would have done [1]. 2 28 There are no triplet quavers 1 29(a) Development 1 29(b) Recapitulation 1 30 Andante 1 31 Upbeat/three quavers are added [1] Only the second half of the melody is played [1] by the violins [1], which the wind (1st oboe/1st bassoon) repeat [1]. The piano then plays the second half of the melody [1] and extends it [1] with much chromaticism [1] 3 32(a) G (major)/dominant 1 32(b) Sonata rondo/ABACABA [1] This is the (first) B section/2nd subject (in the Exposition) [1] 2 33 One mark per note Candidates may add a natural before the C, but this is not required for the mark for that note. 2 34(a) It was the first subject 1

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2021 © UCLES 2021 Page 6 of 6 Question Answer Marks 34(b) It is tutti/whole orchestra/was previously wind [1] and played fortissimo/loud/was previously piano/quiet [1] 2 35 It has the same melodic shape as the first subject (mediant falling to dominant via supertonic and tonic) [1]. Also credit accurate references to the descending nature of the opening theme (bars 1 and 2) [1]. 1 36 It is E7 [1] which is the dominant of the dominant [1], preparing for the dominant second subject/modulation to A major [1]. (Award [1] for reference to dominant seventh without any accurate reference to key or context) 2 37 As quavers (alternating pitches) 1 38 Transition/bridge 1 39 Bars 1–4 are in G major [1], bars 5–8 are in G minor [1], which is a modal shift [1] 2 40(a) Second subject/theme 1 40(b) Dominant pedal 1 41 One mark per note 2 42(a) Recapitulation 1 42(b) It is played by violins/not woodwind [1]. There is no pizzicato accompaniment [1] 1