Cambridge IGCSE Music 0410 — 2022 May/June Paper 1 · Variant 2

This document has 16 pages. Any blank pages are indicated. [Turn over Cambridge IGCSE™ DC (CE) 302533/2 © UCLES 2022 MUSIC 0410/12 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 [ ]. * 9 0 1 8 9 1 2 0 3 3 *

2 0410/12/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 What type of voice is heard? … [1] 2 How many beats are there in each bar? … [1] 3 Describe the piano accompaniment in lines 1–6. … … … [2]

3 0410/12/M/J/22 © UCLES 2022 [Turn over 4 How does the music change in lines 14–19 when the mood of the poem changes? … … … … [3] 5 Who composed this music? Bach Hindemith Mozart Schubert [1]

4 0410/12/M/J/22 © UCLES 2022 Music A2 You will hear an extract for orchestra. Look at the skeleton score and read through questions 6 to 8. 6 What scale does the printed melody use? … [1] 7 The printed melody is heard three further times as the extract continues. Comment on similarities and differences in the melody and the accompaniment during these repetitions. … … … … … [3] 8 (a) When was this music written? Baroque Classical Romantic Twentieth Century [1] (b) Give two reasons for your answer. Do not repeat any information already given. … … … [2] (c) Who composed it? Beethoven Debussy Reich Vivaldi [1]

5 0410/12/M/J/22 © UCLES 2022 [Turn over 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 11. 9 What is the first instrument you hear? … [1] 10 Complete the table below to describe the main features of each layer of the music. Melody … … … … Accompaniment … … … Percussion … … … [4] 11 Where does this music come from? … [1]

6 0410/12/M/J/22 © UCLES 2022 Music B2 You will hear an extract for voice and instruments. Look at the skeleton score and read through questions 12 to 15. 12 What key is the music in? E major E minor G major G minor [1] 13 After the music printed above is heard, it is immediately repeated. How is the music different on the repeat? … … … [2] 14 Describe the accompaniment to the voice. … … … [2] 15 Where does this music come from? … [1]

7 0410/12/M/J/22 © UCLES 2022 [Turn over 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 16 to 18. 16 Describe the music of the first passage, making particular reference to any features which are typical of this style of music. … … … … … [4] 17 (a) What name is given to the second passage? … [1] (b) Explain which features are typical of this section in Kora music. … … … [2] 18 Explain what is meant by the Jeliya praise-singing tradition, and describe how this tradition has changed over time. … … … … … [3]

8 0410/12/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 19 to 26. Answer the questions in this booklet. 19 Suggest a suitable Italian tempo marking. … [1] 20 Describe the accompaniment to the printed melody in bars 1–4. … … … [2] 21 The melody is incomplete in bar 9. Fill in the missing notes on the stave below. The rhythm has been given to help you. [3] 22 Describe how the accompaniment is different when the melody from bars 1–4 is repeated in bars 13–16. … … [1] 23 What compositional technique is heard in bars 17–19? … [1] 24 Name the bracketed interval in bars 21–22. … … [2]

9 0410/12/M/J/22 © UCLES 2022 [Turn over 25 How does the second section of music, beginning at bar 31, contrast with the opening section? … … … [2] 26 (a) When was this music written? Baroque Classical Romantic Twentieth Century [1] (b) Give two reasons for your answer. … … … [2] (c) Who composed this music? Bartók Dvořák Handel Mozart [1]

10 0410/12/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 27 to 34) or Haydn: Symphony No. 100 (questions 35 to 41). 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 27 to 30. 27 Describe the solo violin writing in bars 7–20. … … … [2] 28 Explain the relationship between the solo violin and ripieno violins in bars 27–30. … … … [2] 29 On the stave below, write the viola part in bar 49 in the treble clef. &# [2] 30 (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]

11 0410/12/M/J/22 © UCLES 2022 [Turn over Music D2 Look at the skeleton score, which you will find in the separate insert, and read through questions 31 to 34. 31 (a) What key is the music in at the beginning of the extract? … [1] (b) What is the relationship of this key to the key of the concerto as a whole? … [1] 32 Comment on the texture of the music in bars 1–91. … … … … [3] 33 Which harmonic feature is heard in bars 13–16? Circle of fifths Dominant pedal Phrygian cadence Tonic pedal [1] 34 Explain what is meant by the term ‘concerto grosso’. … … … [2]

12 0410/12/M/J/22 © UCLES 2022 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 35 to 37. 35 (a) What part of the Recapitulation begins at the start of the extract? … [1] (b) Describe two ways in which this music is different from when it was first played in the movement (before the recorded extract). … … … [2] 36 (a) Name the cadence in bars 22–23. … [1] (b) What key is the music in from bar 23? … [1] (c) Which two of the following are heard in bars 23–29? Alberti bass Ascending sequence Descending sequence Dominant pedal Syncopation Tonic pedal [2] 37 What section of the movement is heard next (after the recorded extract)? … [1]

13 0410/12/M/J/22 © UCLES 2022 Music D4 Look at the skeleton score, which you will find in the separate insert, and read through questions 38 to 41. 38 (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] 39 On the stave below, write the first two notes of the viola part in bar 5 in the treble clef. & [2] 40 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] 41 Why does this symphony have the name ‘Military’? … … … [2]

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16 0410/12/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. BLANK PAGE

This document consists of 6 printed pages. © UCLES 2022 [Turn over Cambridge IGCSE™ MUSIC 0410/12 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.

0410/12 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.

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2022 © UCLES 2022 Page 3 of 6 Question Answer Marks 1 Soprano 1 2 2 or 4 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]. 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 Schubert 1 6 Whole tone 1 7 The melody is repeated at a higher pitch (the first two times) / accept ascending sequence [1]. The triplet rhythm at the end is heard in diminution (accept any description) [1]. The string arpeggios [1] continue as an ostinato [1]. More instruments / layers (accept names / descriptions) join (as the repetitions progress) [1]. Gets louder / crescendos [1]. Brass interjections [1] which are the same (twice) but then change [1]. 3 8a Twentieth Century 1 8b Large orchestra [1]. Heavy use of brass [1]. Ostinato [1]. Extremes of register [1]. Some dissonances (but NOT chromaticism as exclusively whole tone) [1]. Fragmented accompaniment figures [1]. 2 8c Debussy 1 9 Sho 1 10 Melody: Starts with a reed instrument [1] playing with much pitch bending (allow glissando / sliding) [1]. A flute takes over the melody [1]. The rhythm is very free [1]. It covers a wide range [1] and is generally high pitched [1]. Accompaniment: (Cluster) chords / long notes / drone [1] from sho. There is no accompaniment in the middle of the extract / the sho notes stop [1]. (Plucked) string notes at the end [1] (NB – may be written in the melody box). Percussion: Individual notes on a small drum [1] which generally get faster [1] 4 11 Japan 1 12 E minor 1 13 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

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2022 © UCLES 2022 Page 4 of 6 Question Answer Marks 14 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. 2 15 Latin America / South America 1 16 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 17a Birimintingo 1 17b It is fast [1], improvised [1] and virtuosic [1]. Runs / sequential phrases [1]. 2 18 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 1 – one or two relevant points 3 19 Moderato / Andante / Allegretto 1 20 (Violas) play repeated notes / quavers / chords / thirds [1]. Cellos imitate (accept repeat) the melody (as an answering phrase) [1]. 2 21 Entirely or almost completely correct 3 A reasonable attempt but with too many errors for full marks 2 A few correct notes (in context) OR general shape reproduced 1 Little melodic accuracy 0 3 22 Violins add a countermelody / answering phrase / descant (accept a description) [1]. Double basses double the cellos [1]. There is a bass note at the start of the passage [1]. 1

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2022 © UCLES 2022 Page 5 of 6 Question Answer Marks 23 (Ascending) sequence 1 24 Major [1] Sixth [1] (sixth must be correct to get the mark for major) 2 25 It is in a different key / modulates / G major rather than E major [1]. The music is detached / lighter / not legato [1]. It is homorhythmic (accept any description) [1]. The melody is disjunct / not step-wise / outlines the notes of chords etc [1]. 2 26a Romantic 1 26b Lyrical / legato / expressive melody [1]. Chromatic lines [1]. Mediant / tertiary key relationship [1]. Melodic use of the cello / double bass [1]. 2 26c Dvořák 1 27 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 28 They play a three-part [1] canon [1], one quaver apart [1]. 2 29 One mark per note 2 30a Ritornello (4) 1 30b It uses a passage from the middle of the original ritornello / does not use the beginning or ending of the original ritornello 1 31a E minor 1 31b Relative minor 1 32 The first two bars are played by everybody [1] with the concertino parts doubled [1] by the ripieno and the solo violin and first recorder doubling [1]. The next two bars are played only by the concertino [1] with the violin taking over the bass line [1]. This texture is then repeated [1]. 3 33 Circle of fifths 1 34 A concerto for two contrasting groups [1] – a small number of soloists / concertino [1] and a larger / accompanying group / ripieno [1]. 2 35a Transition / bridge 1 35b It is shorter [1], does not modulate to the dominant [1] and there is no opening melody / it is just the cadential figure [1]. 2 36a Interrupted 1 36b E flat (major) 1

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2022 © UCLES 2022 Page 6 of 6 Question Answer Marks 36c Descending sequence [1] tonic pedal [1] 2 37 Coda 1 38a C minor 1 38b Tonic minor 1 39 One mark per note 2 40 This is the B / second section [1] The structure of the movement is ABA Coda [1] 2 41 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