Cambridge IGCSE Music 0410 — 2021 Oct/Nov Paper 1 · Variant 2

This document has 16 pages. Cambridge IGCSE™ MUSIC 0410/12 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 [ ]. * 1 7 3 9 6 9 3 6 0 0 * DC (LK/SW) 203047/1 © UCLES 2021 [Turn over

2 0410/12/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] 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 Every day 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 Which of the following is used in the melody of line 1? An ascending scale A descending scale The notes of a major chord The notes of a minor chord [1] 2 How is the music of line 7 different from line 1? … … … [2]

3 0410/12/O/N/21 © UCLES 2021 [Turn over 3 Explain precisely how the music played by the instruments at the end of the extract is related to music from earlier in the recording. … … … … [2] 4 (a) What style of music is this? … [1] (b) Give two reasons for your answer. … … … [2]

4 0410/12/O/N/21 © UCLES 2021 Music A2 You will hear an extract for instruments. Read through questions 5 to 8. 5 (a) What instrument prominently plays the bass line in the introduction? … [1] (b) Which of the following terms best describes the bass line? Alberti bass Drone Ground bass Pedal [1] 6 How many beats are there in each bar? … [1] 7 Describe the relationship between the music for the two melody instruments. … … … [2] 8 (a) When was this music written? Baroque Classical Romantic Twentieth Century [1]

5 0410/12/O/N/21 © UCLES 2021 [Turn over (b) Give a reason for your answer. (Do not repeat any information you have already given.) … … [1] (c) Who composed it? Brahms Debussy Haydn Purcell [1]

6 0410/12/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 9 to 12. 9 What instruments are heard in the first half of the extract? … [1] 10 What scale is used in the second half of the extract (when more instruments join)? … [1] 11 Compare the texture of the first half of the extract with the second half. … … … … [3] 12 Where does this music come from? … [1]

7 0410/12/O/N/21 © UCLES 2021 [Turn over Music B2 You will hear an extract for instruments. Read through questions 13 to 14. 13 (a) What is the main melodic instrument? … [1] (b) Describe the music it plays. … … … … [3] 14 (a) Where does this music come from? … [1] (b) How is the texture of the music typical of music from this area? … … [1]

8 0410/12/O/N/21 © UCLES 2021 Music B3 (World Focus: Caribbean Music) You will hear an extract from a calypso. Read through questions 15 to 19. 15 What is the main melodic instrument heard at the very beginning of the extract? … [1] 16 Describe the structure of the extract. … … … [2] 17 Comment on the use of voices in the extract. … … … [2] 18 What other features in the extract are typical of calypso? … … … [3]

9 0410/12/O/N/21 © UCLES 2021 [Turn over 19 The singer won the title of Calypso Monarch for the 1966 Carnival with this song. Explain the role of calypso at Carnival. … … … … … [2]

10 0410/12/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 Name the bracketed interval in bars 3–4. … … [2] 22 What cadence is used in bar 8? … [1] 23 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]

11 0410/12/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 0410/12/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 32) or Mendelssohn: Calm Sea and Prosperous Voyage (questions 33 to 41). 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 28. 26 (a) What is the key of the music at the start of the extract? … [1] (b) What is the relationship of this key to the tonic key of the movement? … [1] (c) Other than the key, how is the music in bars 1–6 different from when this theme was heard at the start of the movement (before the recorded extract)? … … … … … [4] 27 What instrument doubles the piano melody in bars 16–18? … [1] 28 From which section of the movement is this extract taken? … [1]

13 0410/12/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 29 to 32. 29 Describe how Mozart presents the theme in bars 1–12 of the extract, comparing it with when it was first played at the start of the movement (before the recorded extract). … … … … [3] 30 What harmonic device is used to modulate in bars 39–50? … [1] 31 On the stave below, write the viola part in bar 66 in the treble clef. [2] 32 (a) What is the structure of this movement? … [1] (b) Where does this extract fit within the structure? … [1]

14 0410/12/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 33 to 37. 33 (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] 34 How is the new theme in bar 21 related to material heard previously (before the recorded extract)? … … [1] 35 Describe and explain the function of the harmony in bars 41–56. … … … [2]

15 0410/12/O/N/21 © UCLES 2021 [Turn over 36 Explain how the rhythmic notation of bars 53–56 should be played. … … [1] 37 What part of the Exposition is this? … [1]

16 0410/12/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. Music D4 Look at the skeleton score, which you will find in the separate Insert, and read through questions 38 to 41. 38 Comment on the tonality of bars 1–8, naming the keys. … … … [2] 39 (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] 40 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] 41 (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]

This document consists of 6 printed pages. © UCLES 2021 [Turn over Cambridge IGCSE™ MUSIC 0410/12 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.

0410/12 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.

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2021 © UCLES 2021 Page 3 of 6 Question Answer Marks 1 The notes of a minor chord 1 2 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 3 They first play the music from the introduction [1] then play the music of line 1 [1] but harmonised [1] and an octave higher [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]. 2 5(a) Bassoon 1 5(b) Ground bass 1 6 3 1 7 They play in canon (accept a less precise reference to copying/repetition/imitation) [1] two bars apart [1]. 2 8(a) Baroque 1 8(b) Harpsichord/(Basso) continuo/Ornamentation/Trills 1 8(c) Purcell 1 9 Shakuhachi(s) 1 10 Pentatonic 1 11 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 12 Japan 1 13(a) Sitar 1 13(b) It plays fast [1] scalic notes [1] with lots of repetition of the same note/tremolo [1]. Later, small motifs are repeated [1] and the music ascends [1] (accept ref. to sequence). It finishes with repetition of the same note an octave higher [1] than the first note. It is improvised [1]. Pitch bending [1]. 3 14(a) India 1 14(b) Melody and drone (and tabla/percussion) 1 15 Steel pans/steel drums 1

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2021 © UCLES 2021 Page 4 of 6 Question Answer Marks 16 (Instrumental) introduction – verse – chorus – (instrumental) interlude Comprehensive answer [2] At least two correct sections in order [1] 2 17 The verse is sung by a lead singer [1]. The singing is often rushed with speech-like rhythms in the verse [1]. The chorus is sung by backing singers [1] alternating with the lead singer/call and response [1] 2 18 Syncopation [1]. Duple metre [1]. Fast [1] Simple harmonies [1] The chorus music is heard again in the instrumental interlude [1]. Use of trumpets/saxophones [1] 3 19 New songs were composed for Carnival [1] and were sung in calypso competitions/performed in front of a panel of judges [1]. These were sung in venues called tents. During the weeks preceding Carnival, calypsonians performed each night in four or five tents [1]. The best calypso of the year was crowned the Calypso Monarch [1]. 2 20 B flat (major) 1 21 Minor [1] third [1] (third must be correct to get the mark for minor) 2 22 Imperfect 1 23 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 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(a) A flat (major) 1 26(b) It is the relative major of the tonic minor 1

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2021 © UCLES 2021 Page 5 of 6 Question Answer Marks 26(c) It is played by the piano (rather than the 1st violins) [1]. There is no introductory bar [1]. The extra dotted rhythm at the end of bar 1 [1] means that the melody reaches a higher pitch [1]. There is an upbeat to the second phrase (bars 3–4) [1]. Bars 4–5 are more decorated [1] 4 27 (1st) oboe 1 28 Recapitulation 1 29 It is in A major [1] and is played by the piano [1] with an Alberti bass [1] accompaniment. The ending is developed/changed [1] and the woodwind play another changed version of the ending [1]. 3 30 Circle of fifths [1] 1 31 One mark per note 2 32(a) Sonata-rondo form (accept ABACABA) 1 32(b) Development (accept C) 1 33(a) It was the first subject 1 33(b) It is tutti/whole orchestra/was previously wind [1] and played fortissimo/loud/was previously piano/quiet [1] 2 34 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 – double bass motif) [1]. 1 35 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 36 As quavers (alternating pitches) 1 37 Transition/bridge 1 38 Bars 1–4 are in G major [1], bars 5–8 are in G minor [1], which is a modal shift [1] 2 39(a) Second subject/theme 1 39(b) Dominant pedal 1

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2021 © UCLES 2021 Page 6 of 6 Question Answer Marks 40 One mark per note 2 41(a) Recapitulation 1 41(b) It is played by violins/not woodwind [1]. There is no pizzicato accompaniment [1] 1