Cambridge IGCSE Music 0410 — 2022 May/June Paper 1 · Variant 1

This document has 16 pages. Any blank pages are indicated. [Turn over Cambridge IGCSE™ MUSIC 0410/11 Paper 1 Listening May/June 2022 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 4 0 2 3 4 3 0 1 5 * DC (CJ) 302530/1 © UCLES 2022

2 0410/11/M/J/22 © UCLES 2022 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 piano. The words (in German) and their translation are printed below. Read through questions 1 to 5. 1 Es träumen die Wolken, They are dreaming – the clouds, 2 Die Sterne, der Mond, the stars, the moon, 3 Es träumen die Wolken, They are dreaming – the clouds, 4 Die Sterne, der Mond, the stars, the moon, 5 Die Bäume, die Vögel, the trees, the birds, 6 Die Blumen, der Strom, the flowers, the stream, 7 Sie wiegen they shake 8 Und schmiegen and nestle 9 Sich tiefer zurück, themselves deeper back, 10 Zur ruhigen Stätte, to that peaceful little place, 11 Zum thauigen Bette, to the dewy bed, 12 Zum heimlichen Glück, to that secret joy, 13 Zum heimlichen Glück. to that secret joy. 14 Doch Blättergesäusel But the rustling leaves 15 Und Wellengekräusel and rippling waves 16 Verkünden Erwachen; announce an awakening; 17 Denn ewig geschwinde, then eternally swift, 18 Unruhige Winde, restless winds, 19 Sie stören, sie fachen. they moan, they blow. 1 How many beats are there in each bar? … [1] 2 Suggest an Italian term to describe the change of tempo between lines 4 and 5. … [1]

3 0410/11/M/J/22 © UCLES 2022 [Turn over 3 Describe the piano accompaniment in lines 1–6. … … … [2] 4 How does the music change in lines 14–19 when the mood of the poem changes? … … … … [3] 5 When was this music written? Baroque Classical Romantic Twentieth Century [1]

4 0410/11/M/J/22 © UCLES 2022 Music A2 You will hear an extract for instruments. Look at the skeleton score below and read through questions 6 to 9. The repeat is played in the recording. 1 2 3 4 ™™ Key and cadence? Extract continues... 5 6 7 8 34 &### &### œ œ œ œ œJ œ œ œJ œ œ œ œ œ œ œ œJ œ œ œJ œ œ œ œ™œ œ œ# œ œ œ™œ œ œ# œ œ œ™œ œ œ œ œ œ œ œj ‰ 6 What playing technique is used by the lower strings throughout the extract? … [1] 7 Name the key and cadence in bars 7–8. Key: … Cadence: … [2] 8 Describe the similarities and differences between the printed passage and the music which is heard when the extract continues. … … … … [3]

5 0410/11/M/J/22 © UCLES 2022 [Turn over 9 (a) Which of the following best describes this extract? Canon March Minuet Theme and variations [1] (b) Give a reason for your answer. … … [1]

6 0410/11/M/J/22 © UCLES 2022 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 10 to 11. 10 (a) Name the melody instrument. … [1] (b) How is the sound produced on this instrument? … [1] (c) How is this instrument accompanied during the first half of the extract? … [1] 11 (a) Where does this music come from? … [1] (b) Give two reasons for your answer (do not repeat any information already given in your answers to question 10). … … … [2]

7 0410/11/M/J/22 © UCLES 2022 [Turn over Music B2 You will hear an extract for voice and instruments. Look at the skeleton score and read through questions 12 to 14. 44 &# &# 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 œ œ 12 After the music printed above is heard, it is immediately repeated. How is the music different on the repeat? … … … [2] 13 Describe in detail the accompaniment to the voice. … … … … [3] 14 Where does this music come from? … [1]

8 0410/11/M/J/22 © UCLES 2022 Music B3 (World Focus: Sub-Saharan African Music) You will hear two passages from a piece of Kora music, separated by a short gap. Read through questions 15 to 17. 15 Describe the music of the first passage, making particular reference to any features which are typical of this style of music. … … … … … [4] 16 (a) What name is given to the second passage? … [1] (b) Explain which features are typical of this section in Kora music. … … … [2] 17 Explain what is meant by the Jeliya praise-singing tradition, and describe how this tradition has changed over time. … … … … … [3]

9 0410/11/M/J/22 © UCLES 2022 [Turn over BLANK PAGE

10 0410/11/ M / J /22 © UCLES 2022 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 18 to 24. Answer the questions in this booklet. 18 (a) What instrument plays the printed melody from bar 5? … [1] (b) Describe two differences between bars 5–12 and bars 21–28. … … … [2] 19 Name the compositional device heard in bars 13–16. … [1] 20 The melody is incomplete in bars 18–20. Fill in the missing notes on the stave below. The rhythm has been given to help you. (The same melody is heard in bars 34–36.) [3] 21 Name the bracketed interval in bar 47. … … [2]

11 0410/11/M/J/22 © UCLES 2022 [Turn over 22 Briefly describe the music which is heard as the extract continues after bar 51, referring to similarities and differences from the printed part of the extract. … … … [2] 23 (a) Which of the following best describes this music? March Recitative Symphony Waltz [1] (b) Give two reasons for your answer. … … … [2] 24 Identify two features of the music which are neo-classical. … … … [2]

12 0410/11/M/J/22 © UCLES 2022 SECTION D [16 marks] Set Work Answer all the questions on one set work: either Bach: Brandenburg Concerto No. 4 (questions 25 to 31) or Haydn: Symphony No. 100 (questions 32 to 40). Bach: Brandenburg Concerto No. 4 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 25 to 28. 25 Describe the solo violin writing in bars 7–20. … … … [2] 26 Explain the relationship between the solo violin and ripieno violins in bars 27–30. … … … [2] 27 (a) What section of the movement begins in bar 55? … [1] (b) How is this section different from other equivalent sections in the movement? … … [1]

13 0410/11/M/J/22 © UCLES 2022 [Turn over 28 Explain what is meant by the term ‘concerto grosso’. … … … [2]

14 0410/11/M/J/22 © UCLES 2022 Music D2 Look at the skeleton score, which you will find in the separate insert, and read through questions 29 to 31. 29 On the stave below, write the viola part in bar 1 in the treble clef. &# [2] 30 Explain the main features of a fugal exposition with reference to bars 1–16. … … … … … [3] 31 (a) What section of the movement begins in bar 41? … [1] (b) Describe the music in this section. … … … [2]

15 0410/11/M/J/22 © UCLES 2022 [Turn over Haydn: Symphony No. 100 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 32 to 36. 32 (a) From which section of the movement is this extract taken? … [1] (b) What is the tempo marking of this section? … [1] 33 Bars 1–13 feature the strings and one other instrument. Which one? … [1] 34 What feature of a Baroque French Overture is heard in this extract? … [1] 35 Explain how ideas from this section are used later in the movement. … … … [2] 36 Describe the music in bars 14–16. … … … [2]

16 0410/11/M/J/22 © UCLES 2022 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 Cambridge Assessment. Cambridge Assessment is the brand name of the University of Cambridge Local Examinations Syndicate (UCLES), which 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 37 to 40. 37 (a) What key is the music in at the beginning of the extract? … [1] (b) How does this relate to the key of the movement as a whole? … [1] 38 On the stave below, write the last two notes of the viola part in bar 7 in the treble clef. & [2] 39 Name the section of the movement from which this extract is taken and explain how it fits into the structure of the movement as a whole. … … … [2] 40 Why does this symphony have the name ‘Military’? … … … [2]

This document consists of 6 printed pages. © UCLES 2022 [Turn over Cambridge IGCSE™ MUSIC 0410/11 Paper 1 Listening May/June 2022 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 2022 series for most Cambridge IGCSE, Cambridge International A and AS Level and Cambridge Pre-U components, and some Cambridge O Level components.

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2022 © UCLES 2022 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 May/June 2022 © UCLES 2022 Page 3 of 6 Question Answer Marks 1 2 or 4 1 2 Rallentando (Rall.) / Ritardando / Ritenuto / (Rit) / Rubato 1 3 (The RH) plays broken chords [1] and the (left hand) plays octaves / (accept single notes / sustained notes / at the beginning of the bar) [1]. The RH is faster moving / plays in quavers [1]. The bassline rises chromatically during line 6 [1]. Allow Alberti bass [1]. 2 4 The tempo is faster [1]. It modulates [1]. No rubato [1]. The melody rises during the passage [1]. Shorter phrases / gaps between phrases [1]. Staccato / detached singing [1]. Busier piano part / shorter note lengths / triplets [1]. Crescendo / gets louder [1]. Dominant pedal [1]. More chromatic harmony / diminished sevenths [1]. Piano writing is higher / voice is within the piano texture [1]. 3 5 Romantic 1 6 Pizz. / Pizzicato / Plucked 1 7 Key: E major [1] Cadence: Perfect [1] 2 8 It begins in a minor key [1] with similar accompaniment [1] and the rhythm from bars 43-6 [1]. The melody goes lower / the accompaniment is above the melody [1]. The opening melody / key returns later [1] but is modified to end in the tonic [1]. There is similar use of terraced dynamics [1]. 3 9(a) Minuet 1 9(b) Triple time / moderately fast / regular phrases 1 10(a) Sarangi 1 10(b) Bowed 1 10(c) With a (tambura) drone 1 11(a) India 1 11(b) Free rhythm / unmetered at the start [1]. Pitch bending / sliding / meend / ornamentation [1], reference to raga beyond naming the word [1], tabla (enter later in the extract) [1] when there is a clearer sense of pulse [1]. 2 12 The melody is an octave lower [1] and is played by violins (accept strings) / not played by trumpets (accept brass) [1]. It is played in unison / not harmonised [1]. It is more legato / less staccato [1]. The trumpets add stab chords [1] (accept any description) in a descending scale [1] shape. 2 13 Violins (strings) play ascending arpeggios (accept broken chords) [1]. Trumpets play occasional (staccato) notes / interjections [1]. There is a syncopated (clave rhythm) [1] walking / broken chord bass line [1] and repeated / strummed chords [1] on guitar. 3

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2022 © UCLES 2022 Page 4 of 6 Question Answer Marks 14 Latin America / South America 1 15 After a brief opening flourish (accept any description) [1] the kora settles into an ostinato pattern [1] with a steady / repeated rhythm [1]. The back of the kora is knocked percussively / konkon technique is used [1]. The vocal phrases descend [1] to sustained long notes [1]. The singing is syllabic [1]. 4 16(a) Birimintingo 1 16(b) It is fast [1], improvised [1] and virtuosic [1]. Runs / sequential phrases [1]. 2 17 Jeli praise-singers are hereditary music specialists. They are born into the tradition; boys inherit their father’s craft as a profession while young women marry within their fathers’ occupational group. Female jeli do not play melodic instruments, but are highly trained singers. In the past, the jeli served a specific patron (e.g. a royal family, an important official, a wealthy merchant). They served their patron by singing praises in their honour. Since colonial times, the tradition has changed. Few families can afford their own jeli, so anyone with wealth may become patrons. Jelilu today perform at weddings, political events and naming ceremonies. They are gifted with money by the person praised. 3 – a clear understanding, explaining both the tradition and how it has changed (it is not necessary to cover all of the points in the description above) 2 – several correct points made, but perhaps not addressing both aspects equally 1 – one or two relevant points 3 18(a) Flute 1 18(b) It starts an octave lower [1] and is played by strings / violins / orchestra OR the soloist doesn’t play [1] It has smoother articulation [1] and no acciaccaturas [1] 2 19 (Descending) sequence 1 20 Entirely or almost completely correct (including missing one accidental) 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 21 Perfect [1] fifth [1] (mark for perfect only if fifth is correct) 2

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2022 © UCLES 2022 Page 5 of 6 Question Answer Marks 22 The chord sequence is the same / the accompanying pattern / texture is similar [1] but the flute part sounds improvised / has much shorter (accept faster) notes / semiquavers / is more complex / virtuosic / has a wider range / goes higher [1]. 2 23(a) Waltz 1 23(b) 3/4 time signature / triple time [1] Fast tempo / one in a bar feel [1] Mix of legato and staccato articulation [1] Lyrical melody [1] One chord per bar [1] 2 24 Presence of harpsichord [1] Orchestra of strings only [1] Tonal [1] Regular phrasing [1] Jazz influence [1] Section which sounds improvised [1] Added- note chords [1] Syncopation [1] Modulation to distant keys [1] 2 25 It uses triple-stopping [1] and then double-stopping [1]. The violin plays in parallel sixths [1] and the writing is sequential [1] and makes use of suspensions [1]. 2 26 They play a three-part [1] canon [1], one quaver apart [1]. 2 27(a) Ritornello (4) 1 27(b) It uses a passage from the middle of the original ritornello / does not use the beginning or ending of the original ritornello 1 28 A concerto for two contrasting groups [1] – a small number of soloists / concertino [1] and a larger accompanying group / ripieno [1]. 2 29 One mark per note 2 30 It begins with a subject [1]. The answer [1] (bar 5), is accompanied by a countersubject [1]. There is a further entry of the subject in bar 11 [1] and of the answer in bar 15 [1]. In this case, the fugue answers are tonal [1]. The voices/parts/instruments enter one-by-one / it begins monophonically and becomes polyphonic [1]. 3 31(a) Middle section / Episode (1) 1 31(b) Only the concertino / soloists play [1]. The violin has continuous quavers / broken chords / scales / a sequence [1], and the recorders play the opening of the fugue subject [1] at a two-bar interval / in stretto [1]. The texture is contrapuntal [1]. 2 32(a) Introduction 1 32(b) Adagio 1 33 Bassoon 1 34 (Double-) Dotted rhythm 1

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2022 © UCLES 2022 Page 6 of 6 Question Answer Marks 35 The opening seven notes [1] outline the start of the first subject [1] and the falling second (in the bassoon) [1] appears in the (new) second subject [1]. 2 36 It is the first full orchestral tutti [1] with a (rapid) crescendo / it becomes ff [1] in G minor [1] leading to C minor chords [1]. 2 37(a) C minor 1 37(b) Tonic minor 1 38 One mark per note 2 39 This is the B / second section [1] The structure of the movement is ABA Coda [1] 2 40 It uses ‘Turkish’ instruments [1], which are triangle, bass drum and cymbals [1] (at least two must be named for the mark) and there is a fanfare [1] in the second movement. 2