Cambridge IGCSE Music 0410 — 2022 Oct/Nov Paper 1 · Variant 1

This document has 16 pages. [Turn over DC (RW) 301797/1 © UCLES 2022 * 5 4 2 0 4 9 1 8 1 1 * MUSIC 0410/11 Paper 1 Listening October/November 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 [ ]. Cambridge IGCSE™

2 0410/11/O/N/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 voices. The words are printed below. Read through questions 1 to 5. [Vocal introduction] 1 On a flat road, 2 On a flat road, 3 Runs the well-trained runner, 4 Runs the well-trained runner, 5 Runner. [Vocal section] 1 How many different pitches are sung by the first voice part to enter in the introduction? … [1] 2 Which of the following best describes the melodic shape of line 1? Starts with an ascending leap followed by a descending step Starts with an ascending step followed by a descending leap Starts with a descending leap followed by an ascending step Starts with a descending step followed by an ascending leap [1] 3 Describe the relationship between the upper and lower voice parts singing the main melody in lines 1–4. … … … [2] 4 How does the music match the meaning of the text? … … … … [3]

3 0410/11/O/N/22 © UCLES 2022 [Turn over 5 When was this music written? Baroque Classical Romantic Twentieth Century [1]

4 0410/11/O/N/22 © UCLES 2022 Music A2 You will hear a theme (printed below) and two variations for piano, separated by short gaps. Look at the skeleton score and read through questions 6 to 9. 6 Describe the accompaniment to the printed melody in bars 1–8. … … [1] 7 Name the ornament heard on the first beat of bars 2 and 4. … [1] 8 Compare each variation with the theme, referring to similarities and differences as appropriate. (a) Variation 1 … … … [2] (b) Variation 2 … … … [2]

5 0410/11/O/N/22 © UCLES 2022 [Turn over 9 (a) When was this music written? Baroque Classical Romantic Twentieth Century [1] (b) Give a reason for your answer. … … [1]

6 0410/11/O/N/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 12. 10 Comment on the tempo of the extract. … … [1] 11 Describe in detail the texture of the extract. … … … … [3] 12 (a) What is the name of this type of ensemble? … [1] (b) Where does this music come from? … [1]

7 0410/11/O/N/22 © UCLES 2022 [Turn over Music B2 You will hear an extract for voices and instruments. Read through questions 13 to 15. 13 (a) Name the instrument which is heard first. … [1] (b) How is the sound produced on this instrument? … … [1] 14 Describe the main musical features of the extract. … … … … [3] 15 Where does this music come from? … [1]

8 0410/11/O/N/22 © UCLES 2022 Music B3 (World Focus: Sub-Saharan African Music) You will hear three passages from an extract of Afrobeat, separated by short gaps. Read through questions 16 to 20. 16 Name two typical features of the horn part at the start of the first passage. … … … [2] 17 Which of the following rhythms is played by the shèkèrè in the first passage? [1] 18 Describe in detail the vocal music in the second passage. … … … … [3] 19 What features of the third passage are typical of Afrobeat? … … … [2]

9 0410/11/O/N/22 © UCLES 2022 [Turn over 20 (a) Which musician was most influential in shaping Afrobeat? … [1] (b) In which country did it develop? … [1]

10 0410/11/O/N/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 21 to 27. Answer the questions in this booklet. 21 Name the bracketed interval in bar 5. … … [2] 22 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. (The same melody is heard in bars 49–50). [3] 23 What compositional device is heard in bars 29–32? … [1] 24 The melody of bars 45–48 is repeated in bars 53–56. In what ways is the music different? … … … [2] 25 (a) What key does the music change to at bar 61? … [1] (b) What is the relationship of this key to the main key of bars 1–60? … [1]

11 0410/11/O/N/22 © UCLES 2022 [Turn over 26 (a) What type of piece is this? Concerto March Minuet Sonata [1] (b) Give three reasons for your answer. … … … … [3] 27 (a) When was this music written? Baroque Classical Romantic Twentieth Century [1] (b) Who composed this music? Debussy Mozart Strauss Vivaldi [1]

12 0410/11/O/N/22 © UCLES 2022 SECTION D [16 marks] Set Work Answer all the questions on one set work: either Bach: Brandenburg Concerto No. 4 (questions 28 to 35) or Haydn: Symphony No. 100 (questions 36 to 43). 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 28 to 31. 28 (a) What key is the music in at the beginning of the extract? … [1] (b) What is the relationship of this key to the tonic key of the movement? … [1] 29 Describe the texture of the music in bars 21–39. … … … … [3] 30 Which harmonic feature is heard in bars 40–49? Circle of fifths Dominant pedal Phrygian cadence Tonic pedal [1]

13 0410/11/O/N/22 © UCLES 2022 [Turn over 31 Briefly explain the circumstances surrounding the creation of the Brandenburg Concertos. … … … [2]

14 0410/11/O/N/22 © UCLES 2022 Music D2 Look at the skeleton score, which you will find in the separate insert, and read through questions 32 to 35. 32 On the stave below, write the first two notes of the viola part in bar 1 in the treble clef. &# [2] 33 What theme is played by the cello at the beginning of the extract? … [1] 34 Explain what the term suspension means, with reference to bars 3–5. … … … [2] 35 Describe the writing for the solo violin in the music which follows the printed extract. … … … … [3]

15 0410/11/O/N/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 36 to 38. 36 (a) Which part of the Exposition begins at bar 1? … [1] (b) Describe in detail how the music from bar 1 contrasts with what immediately precedes it in the movement (before the recorded extract). … … … [2] 37 (a) Which part of the Exposition begins at bar 16? … [1] (b) What is the purpose of this section? … … [1] 38 (a) On which chord does this extract end? … [1] (b) Explain precisely what is played next in the movement (immediately after the recorded extract). … … … [2]

16 0410/11/O/N/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 39 to 43. 39 What is the tempo marking of the movement from which this extract is taken? … [1] 40 (a) Which section of the movement begins at the start of the extract? … [1] (b) How does Haydn create a ‘Military’ feel at the start of this section? … … [1] 41 Name the chord outlined in bars 9–12. … [1] 42 (a) From where in the movement is the melody which is used in bars 15–20 taken? … [1] (b) How is the melody accompanied? … … [1] 43 On the stave below, write the last two notes of the viola part in bar 22 in the treble clef. & [2]

This document consists of 6 printed pages. © UCLES 2022 [Turn over Cambridge IGCSE™ MUSIC 0410/11 Paper 1 Listening October/November 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 October/November 2022 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 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 October/November 2022 © UCLES 2022 Page 3 of 6 Question Answer Marks 1 2 1 2 Starts with a descending step followed by an ascending leap 1 3 They sing in canon / imitation [1]. The lower voices sing an octave lower / in different octaves [1] and one bar later [1]. 2 4 Fast tempo [1]. Panting sounds / breath noises [1]. Ostinato / moto perpetuo feel [1]. Flat road is a long held note [1]. Phrases getting shorter / entries more frequent (line 5) [1] implies increasing momentum / a sprint to the finish etc [1]. Short note lengths / staccato [1]. Clear beat indicates footsteps [1]. Diminuendo shows the runner fading into the distance [1]. 3 5 Twentieth Century 1 6 Repeated notes / quavers / melody is doubled in 3rds/6ths / pedal 1 7 Trill 1 8(a) The tempo / chords / harmony are similar [1], the melody is incorporated into the semiquaver figuration [1]. The right hand has shorter note values / is faster moving / in semiquavers [1], the left hand now has crotchets / rests [1]. 2 8(b) The bass line / chord progression is the same [1], it is at a slower tempo [1], in a minor key [1] and there is use of syncopation / rests in the right hand [1]. 2 9(a) Classical 1 9(b) Diatonic harmony / regular/balanced phrasing / homophonic 1 10 It is not constant; it starts at a moderate tempo, speeds up, then slows down (at least two elements for the mark). 1 11 It is heterophonic [1]. There is a nuclear theme [1] with slow-moving notes [1], a part with faster-moving notes / embellishments to the theme [1] and an interpunctuating part [1]. 3 12(a) Gamelan 1 12(b) Indonesia / Java 1 13(a) Rabab [1] 1 13(b) It is a bowed string instrument [1] 1 14 The rabab plays a repetitive [1], ornamented melody [1] with a narrow pitch range [1]. This is then doubled by a solo voice [1] and call and response [1] follows with a group singing in unison [1]. An ostinato / repeated drum pattern accompanies [1]. 3 15 North Africa / Egypt / Arab tradition 1

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 4 of 6 Question Answer Marks 16 They play a (short melodic) riff [1] in unison [1] and syncopated [1] with a bright sound [1]. 2 17 1 18 A group of voices sing a short / simple [1] repeated melody [1] in octaves [1]. The soloist’s part changes each time [1]. It is call and response / has a lead singer and chorus [1]. 3 19 There is an improvised / solo [1] on (electric) keyboard / organ / piano [1] and polyrhythms (on the drums) [1]. 2 20(a) Fela Kuti 1 20(b) Nigeria 1 21 Major [1] sixth [1] (sixth must be correct to get the mark for major) 2 22 Entirely or almost completely correct (inc. missing the #) 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 23 (Descending) sequence 1 24 The violins play the melody an octave higher [1]. The accompanying brass play a different pattern / quavers / shorter notes [1]. It is louder [1]. 2 25(a) E flat (major) 1 25(b) Subdominant 1 26(a) March 1 26(b) Duple time [1]. Regular / steady pulse [1]. March tempo / fairly fast.[1]. Prominent wind / brass / percussion [1]. Fanfare-like passages [1]. Dotted rhythms [1]. Regular phrase lengths [1]. Contrasting trio section [1] in the subdominant [1]. 3 27(a) Romantic 1 27(b) Strauss 1 28(a) E minor 1

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 5 of 6 Question Answer Marks 28(b) Relative minor 1 29 It is a (recorder) duet [1], with (the recorders) playing in imitation / canon [1]. It is initially accompanied by simple chordal quavers from ripieno and continuo [1]. From bar 29 / later only the two recorders and continuo are used [1]. 3 30 Circle of fifths 1 31 Bach met the Margrave of Brandenburg in Berlin in 1719 while sourcing a new harpsichord for Cöthen. In 1721, Bach sent him a score of the six concertos, probably having been invited to do so. Bach may have seen this as an opportunity to gain employment. It is likely that Bach drew upon earlier compositions in creating the set. 2 – a good understanding with some detail 1 – some correct information 2 32 One mark per note 2 33 The fugue subject 1 34 A suspension is where an initially consonant note is ‘suspended’ to the next strong beat where it clashes due to the harmony changing. It then falls by step to resolve. In this passage, the solo violin notes at the beginning of each bar are suspensions, causing dissonance with the recorder part / bass. 2 – a clear understanding of suspension and an accurate example from the passage, however described 1 – some creditable knowledge 2 35 Initially the violin plays quaver / broken chords / scales [1]. The music then becomes more virtuosic / the violin plays (scalic) semiquavers [1]; finally the technique of bariolage [1] is used. (However expressed, the answer should refer to the increasing stages of virtuosity to gain 2 or 3 marks). 3 36(a) The first subject 1 36(b) There is a change of time signature from to [1]. There is a change of tempo from Adagio to Allegro [1] There is a change in orchestration from tutti to just flutes and oboes [1]. There is a change from ff/f to p [1] 2 37(a) Transition 1 37(b) To modulate (to D major / the dominant) 1

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 6 of 6 Question Answer Marks 38(a) A7 / dominant seventh (in D major) 1 38(b) The first subject [1] in the dominant / D major / played by the woodwind [1] instead of the expected second subject [1] 2 39 Allegretto 1 40(a) Coda 1 40(b) Trumpet fanfare / timpani roll 1 41 A flat (major) 1 42(a) First bar of the movement 1 42(b) In 3rds / 6ths / with a (dominant) pedal 1 43 One mark per note 2