Cambridge IGCSE Music 0410 — 2022 Oct/Nov Paper 1 · Variant 2

This document has 16 pages. Any blank pages are indicated. [Turn over Cambridge IGCSE™ * 4 1 7 9 8 0 3 6 3 7 * DC (CJ) 301800/2 © UCLES 2022 MUSIC 0410/12 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 [ ].

2 0410/12/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 4. [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 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] 2 Describe the relationship between the upper and lower voice parts singing the main melody in lines 1–4. … … … [2]

3 0410/12/O/N/22 © UCLES 2022 [Turn over 3 How does the music match the meaning of the text? … … … … [3] 4 (a) When was this music written? Baroque Classical Romantic Twentieth Century [1] (b) Give a reason for your answer. … … [1]

4 0410/12/O/N/22 © UCLES 2022 Music A2 You will hear an extract for instruments. Look at the skeleton score and read through questions 5 to 8. 1 2 3 4 5 6 7 8 9 10 11 12 c &b Violin &b Cadence? &b Extract continues... ‰ Ó Œ ‰ œj œn œ# œ œ œ# œn œ œ œ œ œ œ œ œ œ œ œ œb ™œ œ™œ œ œœœ œ œ œ œœ œ œ™œJ œ œ œ œ œn œ œœœ œœœ œœ œn œ œ# œ ‰ œj œn œ œ œ œ œn œœ œ œ œœœ œ# œ œn œœ œœœ™œœ™œ œ™œjœ œœœ œ œ ‰ œjœ œœœ œ 5 Suggest a suitable Italian tempo marking. … [1] 6 What instruments accompany the printed melody? … [2] 7 Name the cadence in bars 5–6. … [1]

5 0410/12/O/N/22 © UCLES 2022 [Turn over 8 (a) When was this music written? Baroque Classical Romantic Twentieth Century [1] (b) Give three reasons for your answer. Do not repeat any information already given in your answers. … … … … [3]

6 0410/12/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 voices and instruments. Read through questions 9 to 11. 9 (a) Name the instrument which is heard first. … [1] (b) How is the sound produced on this instrument? … … [1] 10 Describe the main musical features of the extract. … … … … [3] 11 Where does this music come from? … [1]

7 0410/12/O/N/22 © UCLES 2022 [Turn over Music B2 You will hear an extract for instruments. Read through questions 12 to 15. 12 Which scale is the melody based on? Blues Chromatic Pentatonic Whole tone [1] 13 Describe the texture of the music. … … … [2] 14 Comment on the tempo. … … … [2] 15 Where does this music come from? … [1]

8 0410/12/O/N/22 © UCLES 2022 Music B3 (World Focus: Sub-Saharan African Music) You will hear two passages from a piece of Afrobeat, separated by a short gap. Read through questions 16 to 18. 16 (a) What features of the music in the first passage are typical of Afrobeat? … … … [3] (b) What instrument plays a solo towards the end of this passage? … [1] 17 What features of the music in the second passage are typical of Afrobeat? … … … [3] 18 (a) Name one popular musical style which influenced Afrobeat. … [1] (b) Which musician was most influential in shaping Afrobeat? … [1] (c) In which country did it develop? … [1]

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10 0410/12/ 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 19 to 25. Answer the questions in this booklet. 19 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] 20 What compositional device is heard in bars 29–32? … [1] 21 Name the bracketed interval in bar 38. … … [2] 22 The melody of bars 45–48 is repeated in bars 53–56. In what ways is the music different? … … … [2] 23 (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 0410/12/O/N/22 © UCLES 2022 [Turn over 24 (a) What type of piece is this? Concerto March Minuet Sonata [1] (b) Give three reasons for your answer. … … … … [3] 25 (a) When was this music written? Baroque Classical Romantic Twentieth Century [1] (b) Who composed this music? Debussy Mozart Strauss Vivaldi [1]

12 0410/12/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 26 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 26 to 29. 26 What is played by the continuo in bars 1–6? … … [1] 27 (a) What term is given to the group of soloists which plays in bars 7–11? … [1] (b) How is the music in these bars different from when this passage was first played in the movement (before the recorded extract)? … … … [2] 28 What is played in bars 14–15? … … [1] 29 (a) On the stave below, write the viola part in bars 16–17 in the treble clef. &# [2] (b) What type of cadence is heard in these bars? … [1]

13 0410/12/O/N/22 © UCLES 2022 [Turn over Music D2 Look at the skeleton score, which you will find in the separate insert, and read through questions 30 to 34. 30 (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] 31 The extract begins with a statement of the fugue subject. In which bar does the fugue answer enter? 3 5 7 9 [1] 32 Describe the section of music which follows the printed extract. … … … [2] 33 What happens next in the movement (after the recorded extract)? … … [1] 34 Briefly explain the circumstances surrounding the creation of the Brandenburg Concertos. … … … [2]

14 0410/12/O/N/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) 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] 36 (a) Which part of the Exposition begins at bar 16? … [1] (b) What is the purpose of this section? … … [1] 37 (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]

15 0410/12/O/N/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) 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] 39 (a) Name the chord outlined in bars 9–12. … [1] (b) How do the strings play this chord? … [1] 40 (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] 41 On the stave below, write the last two notes of the viola part in bar 22 in the treble clef. & [2]

16 0410/12/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. BLANK PAGE

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

0410/12 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.

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 3 of 6 Question Answer Marks 1 Starts with a descending step followed by an ascending leap. 1 2 They sing in canon / imitation [1]. The lower voices sing an octave lower [1] and one bar later [1]. 2 3 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. Short note lengths / staccato [1]. Clear beat indicates footsteps [1]. Diminuendo shows the runner fading into the distance [1]. 3 4(a) Twentieth Century. 1 4(b) Extended vocal techniques (ref. to wordless sounds etc.) [1]. Minimalist / layering technique [1]. Angular melody [1]. Ostinato [1] 5/4 / irregular time signature [1]. 1 5 Allegro / Allegretto / Presto / Vivace. 1 6 Harpsichord [1] and Cello / viol / violone [1]. 2 7 Imperfect. 1 8(a) Baroque. 1 8(b) Imitative / contrapuntal / polyphonic texture [1]. Terraced dynamics [1]. Ornamentation / trills / mordents [1]. Many passages decorated with passing notes etc. [1]. (Basso) continuo accompaniment [1]. Use of sequences [1]. 3 9(a) Rabab [1]. 1 9(b) It is a bowed string instrument [1]. 1 10 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 11 North Africa / Egypt / Arab tradition. 1 12 Pentatonic. 1 13 The melody is played heterophonically [1] in octaves [1]. The phrases are echoed / imitated / the other instruments play in unison [1] while the first instruments hold a long note [1]. 2 14 The music starts at a moderate pace. Initially, it increases in tempo a little, then there is suddenly a much faster section, followed by a significant rallentando. The tempo is not constant. 2 – a full, accurate description. 1 – some correct elements. 2 15 China. 1

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 4 of 6 Question Answer Marks 16(a) Syncopated melody played by the horn section in unison / short melodic riff. Call and response between (improvised) solo sax and horn section. Ostinato shèkèrè part and polyrhythmic drums (emphasising the pulse). Rhythmic electric guitar part (playing seventh / ninth chords). 3 – a comprehensive answer addressing all three layers. 2 – several correct observations. 1 – one or two valid points. 3 16(b) Saxophone. 1 17 Short / simple [1] and repetitive melody [1]. Call and response / lead singer and chorus [1]. Pentatonic scale [1]. Blues inflection in the singing [1]. 3 18(a) Highlife / soul / funk (accept jazz). 1 18(b) (Fela) Kuti. 1 18(c) Nigeria. 1 19 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 20 (Descending) sequence. 1 21 Minor [1] third [1] (third must be correct to get the mark for minor). 2 22 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 23(a) E flat (major). 1 23(b) Subdominant. 1 24(a) March. 1 24(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

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 5 of 6 Question Answer Marks 25(a) Romantic. 1 25(b) Strauss. 1 26 The (violin / recorder) melody from the beginning of the movement. 1 27(a) Concertino. 1 27(b) The violin plays what was once the continuo part [1]. There is now no continuo / accompaniment [1] and the recorder parts have swapped [1]. 2 28 The recorder plays unaccompanied virtuosic semiquavers / cadenza. 1 29(a) One mark per note. 2 29(b) Phrygian / Imperfect. 1 30(a) E minor. 1 30(b) Relative minor. 1 31 5. 1 32 Only the recorders and continuo play / there is no solo violin or ripieno [1]. There is much imitation [1] between the recorder parts, and a three-part contrapuntal texture [1] is created with the bass line / harpsichord. The bass line then has the fugue subject [1]. 2 33 Ritornello (4) / subject in (solo and 1st) violins / in C major. 1 34 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 35(a) The first subject. 1 35(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 36(a) Transition. 1

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 6 of 6 Question Answer Marks 36(b) To modulate (to D major / the dominant). 1 37(a) A7 / dominant seventh (in D major). 1 37(b) The first subject [1] in the dominant / D major / played by the woodwind [1] instead of the expected second subject [1]. 2 38(a) Coda. 1 38(b) Trumpet fanfare / timpani roll. 1 39(a) A flat (major). 1 39(b) Tremolo / as repeated semiquavers. 1 40(a) First bar of the movement. 1 40(b) In 3rds / 6ths / with a (dominant) pedal. 1 41 One mark per note. 2