Cambridge IGCSE Music 0410 — 2021 Oct/Nov Paper 1 · Variant 3

This document has 16 pages. Cambridge IGCSE™ MUSIC 0410/13 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 7 4 3 4 8 9 7 3 * DC (CJ/SW) 203042/1 © UCLES 2021 [Turn over

2 0410/13/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 voice and an accompanying instrument. The words (in Italian) begin with ‘Lagrime mie’, and are about sadness and tears. Read through questions 1 to 5. 1 What type of voice is heard in this extract? … [1] 2 What vocal effect does the singer use on the first syllable? … [1] 3 Describe three ways in which the music suggests sadness and tears. … … … … [3] 4 Which of the following is this extract an example of? Aria Chorus Recitative Symphony [1]

3 0410/13/O/N/21 © UCLES 2021 [Turn over 5 (a) When was this music written? Baroque Classical Romantic Twentieth Century [1] (b) Give a reason for your answer. … … [1]

4 0410/13/O/N/21 © UCLES 2021 Music A2 You will hear an extract for instruments. Look at the skeleton score below and read through questions 6 to 7. 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 6 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 0410/13/O/N/21 © UCLES 2021 [Turn over 7 (a) When was this music written? Baroque Classical Romantic Twentieth Century [1] (b) Who composed this music? Bach Gershwin Haydn Tchaikovsky [1]

6 0410/13/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 voices and instruments. Read through questions 8 to 11. 8 What is the texture of the music at the start of the extract? … [1] 9 Which of the following best describes the melodic shape of the first vocal phrase? After a repeated note the melody: Ascends then descends, mostly by leap Ascends then descends, mostly by step Descends then ascends, mostly by leap Descends then ascends, mostly by step [1] 10 Comment in detail on the use of call and response by the voices. … … … [2] 11 (a) Which culture does this music come from? … [1] (b) Give a reason for your answer (do not repeat any information already given in your answers). … … [1]

7 0410/13/O/N/21 © UCLES 2021 [Turn over Music B2 You will hear an extract for instruments. Read through questions 12 to 15. 12 Describe the music played by the first instrument. … … … [2] 13 Name the main melody instrument. … [1] 14 (a) What other instrument is heard? … [1] (b) How is this instrument being played? Arco Glissando Muted Tremolo [1] 15 Where does this music come from? … [1]

8 0410/13/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 16 to 20. 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] 16 (a) Name precisely the first instrument heard. … [1] (b) Describe what this instrument plays throughout the extract. … … … [2] 17 How are the tempo and metre of this song typical of reggae? … … … [2] 18 Which of the following is played by the bass guitar in lines 1–4? Improvisation Ostinato Polyrhythm Semiquaver patterns [1]

9 0410/13/O/N/21 © UCLES 2021 [Turn over 19 Describe what is sung by the backing singers in lines 5 and 6. … … … [2] 20 Name two musical styles which influenced reggae. … … [2]

10 0410/13/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 for instruments. Look at the skeleton score, which you will find on the separate Insert, and read through questions 21 to 27. Answer the questions in this booklet. 21 What instrument plays the printed music in bars 1–24? … [1] 22 Name the bracketed interval in bars 5–6. … … [2] 23 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. (The same melody is heard in bars 10–11.) [3] 24 (a) Name the key and cadence in bars 23–24. Key: … Cadence: … [2] (b) What is the relationship of this key to the tonic key of the extract? … [1]

11 0410/13/O/N/21 © UCLES 2021 [Turn over 25 Which TWO of the following can be heard from bars 33–48? Tick two boxes. Melisma Parallel motion Pedal note Strumming Syncopation Tremolo [2] 26 (a) Which of the following is this extract an example of? March Minuet Oratorio Waltz [1] (b) Give a reason for your answer. … … [1] 27 (a) Give two reasons why this music is neo-classical in style. … … … [2] (b) Who composed this music? Brahms Glass Ravel Schumann [1]

12 0410/13/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 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 32. 28 Name the key and cadence in bars 3–4. Key: … Cadence: … [2] 29 Comment on how the pianist performs bars 4–6 and explain why this is done. … … … [2] 30 What is rhythmically different about the accompaniment in bars 16–18 compared with the rest of the movement? … … [1]

13 0410/13/O/N/21 © UCLES 2021 [Turn over 31 (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] 32 What is the tempo marking of this movement? … [1]

14 0410/13/O/N/21 © UCLES 2021 Music D2 Look at the skeleton score, which you will find in the separate Insert, and read through questions 33 to 35. 33 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] 34 (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] 35 On the stave below, write the third and fourth notes of the viola part in bar 46 in the treble clef. [2]

15 0410/13/O/N/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 36 to 40. 36 (a) What theme is played at the beginning of the extract? … [1] (b) What key is it in? … [1] (c) What is its relationship to the tonic key of the overture? … [1] (d) How is this theme related to the music at the beginning of the overture (before the recorded extract)? … … [1] 37 Describe the texture of the music in bars 593–622. … … [1] 38 What section of the overture begins towards the end of the recorded extract (after the printed music)? … [1] 39 What is unusual about the structure of the Recapitulation in this overture? … … [1] 40 What is a concert overture? … … [1]

16 0410/13/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 41 to 45. 41 On the stave below, write the first two notes of the clarinet part in bar 3 at sounding pitch. The key signature has been given. [2] 42 Bar 14 is marked tenuto assai. What does this mean? … [1] 43 Describe the music played by the trumpets in bars 15–21. … … … … [3] 44 What section of the overture is this? … [1] 45 Who wrote the poems on which the overture is based? Brecht Goethe Müller Schiller [1]

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

0410/13 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.

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2021 © UCLES 2021 Page 3 of 6 Question Answer Marks 1 Soprano 1 2 Melisma 1 3 Descending [1]. Minor key [1]. Use of dissonance [1]. Slow tempo [1]. Chromatic / frequent use of semitones [1] 3 4 Recitative 1 5(a) Baroque 1 5(b) Harpsichord / (basso) continuo / use of ornaments 1 6 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 7(a) Romantic 1 7(b) Tchaikovsky 1 8 Heterophonic / different versions of the same melody 1 9 Descends then ascends, mostly by step 1 10 The response is more than one voice / varying numbers / a group [1] singing in unison [1]. It is repetitive [1]. The group often copies all or part of the call [1] The call and response often overlap [1] 2 11(a) Arab 1 11(b) Use of quarter-tone intervals (/maqām) [1]. Melody using a small range of notes [1]. Highly rhythmic [1]. Short phrases [1] 1 12 Repetitive / ostinato [1]. A (low) bass line [1] followed by (higher) broken chords [1]. It is minor [1] 2 13 Panpipe 1

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2021 © UCLES 2021 Page 4 of 6 Question Answer Marks 14(a) Charango 1 14(b) Tremolo 1 15 South America 1 16(a) Rhythm / electric guitar 1 16(b) Staccato / short [1] Off-beat chords / chords on beats 2 and 4 [1] in pairs / as quavers/semiquavers [1] 2 17 It is slow / relaxed tempo [1]. It is in 4/4 / quadruple [1] 2 18 Ostinato 1 19 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 20 Ska [1], rocksteady [1], mento (accept Jamaican folk music or European and African music) [1] American jazz / rhythm and blues [1] 2 21 Oboe 1 22 Perfect [1] fifth [1] (fifth must be correct to get the mark for perfect) 2 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) Key: D (major) [1] Cadence: Perfect [1] 2 24(b) Dominant 1 25 Parallel motion [1] Pedal note [1] 2 26(a) Minuet 1 26(b) 3/4 / triple time [1] Moderate tempo [1] 1

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2021 © UCLES 2021 Page 5 of 6 Question Answer Marks 27(a) Regular / balanced phrase lengths [1] Use of ornaments [1] Unusual instrumental effects (e.g. harmonics) [1] Chromaticism (accept unusual accidentals) [1] Large orchestra / presence of harp [1] (Mild) dissonance [1] 2 27(b) Ravel 1 28 Key: G minor [1] Cadence: Perfect [1] 2 29 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 30 There are no triplet quavers 1 31(a) Development 1 31(b) Recapitulation 1 32 Andante 1 33 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 34(a) G (major) / dominant 1 34(b) Sonata rondo / ABACABA [1] This is the (first) B section / 2nd subject (in the Exposition) [1] 2 35 One mark per note Candidates may add a natural before the C, but this is not required for the mark for that note. 2 36(a) Second subject / theme 1 36(b) A (major) 1 36(c) Dominant 1 36(d) It uses the same rhythm (minim – dotted crotchet – quaver) 1 37 It is played in octaves [1] (accept unison / monophonic) 1 38 Development 1 39 The second subject is not heard 1

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2021 © UCLES 2021 Page 6 of 6 Question Answer Marks 40 A single-movement orchestral piece conceived as a stand-alone piece (as opposed to being the overture to an opera). 1 41 One mark per note 2 42 Very held [1] (accept a long pause) 1 43 They play a fanfare [1]. This is initially played in canon / is imitated [1] with entries every bar [1]. After a rising arpeggio [1] they play the second subject/theme opening motif [1] in harmony [1]. The third trumpet plays for the first time [1]. 3 44 Coda 1 45 Goethe 1