Cambridge IGCSE Music 0410 — 2022 Oct/Nov Paper 1 · Variant 3

This document has 16 pages. [Turn over Cambridge IGCSE™ DC (CE) 301803/2 © UCLES 2022 MUSIC 0410/13 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 [ ]. * 8 8 5 4 7 6 7 1 9 7 *

2 0410/13/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 and instruments. The words are printed below. Read through questions 1 to 5. 1 From far away we come and farther we must go 2 How far, how far, my crystal star? 3 The shepherd dreams inside the fold 4 Cold are the sands by the silent sea 5 Frozen the incense in our frozen hands, heavy the gold 6 How far, how far, my crystal star? 1 How many beats are there in each bar? … [1] 2 Identify the vocal texture: (a) at the start of the extract. … [1] (b) on the word ‘cold’ at the start of line 4. … [1] 3 How does the instrumental accompaniment in lines 1–4 suggest that the singers are walking along? … … [1] 4 Which of the following is heard at the end of line 6? Flute arpeggio Harp glissando Trumpet fanfare Violin trills [1]

3 0410/13/O/N/22 © UCLES 2022 [Turn over 5 (a) When was this music written? Baroque Classical Romantic Twentieth Century [1] (b) Give two reasons for your answer. … … … [2]

4 0410/13/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 8. Accompaniment? 1 2 3 4 5 6 7 8 9 10 11 12 34 &b &b œ œ™œJ œ™œJ œ œ œ™œJ œ™œjœ œ œ œ# œ™œ# jœ œ œ œ œ™ œj œ œ™œ œ œ œ œ œ™œ œ œ œ œ œ™œ œ™œ œ™œ œ 6 Describe the accompaniment to the printed melody in bars 1–8. … … [1] 7 Compare each variation with the theme, referring to similarities and differences as appropriate. (a) Variation 1 … … … [2] (b) Variation 2 … … … [2] 8 (a) When was this music written? Baroque Classical Romantic Twentieth Century [1]

5 0410/13/O/N/22 © UCLES 2022 [Turn over (b) Give a reason for your answer. … … [1] (c) Who composed this music? Gershwin Handel Mozart Schumann [1]

6 0410/13/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 9 to 11. 9 Comment on the tempo of the extract. … … [1] 10 Describe in detail the texture of the extract. … … … [2] 11 (a) Which instrumental family do the instruments in this extract belong to? … [1] (b) What is the name of this type of ensemble? … [1] (c) Where does this music come from? … [1]

7 0410/13/O/N/22 © UCLES 2022 [Turn over Music B2 You will hear an extract for instruments. Read through questions 12 to 14. 12 (a) Name the first instrument heard. … [1] (b) Describe the music played by this instrument throughout the extract. … … … [2] 13 (a) Name the melody instrument. … [1] (b) How is the sound produced on this instrument? … [1] 14 Where does this music come from? … [1]

8 0410/13/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 15 to 19. 15 Name two typical features of the horn part at the start of the first passage. … … … [2] 16 Which of the following rhythms is played by the shèkèrè in the first passage? [1] 17 Describe in detail the vocal music in the second passage. … … … … [3] / / / / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ ‰ œj ‰ œj ‰ œj œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰

9 0410/13/O/N/22 © UCLES 2022 [Turn over 18 What features of the third passage are typical of Afrobeat? … … … [2] 19 Name two styles that are part of the Afrobeat fusion. … … [2]

10 0410/13/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 20 to 25. Answer the questions in this booklet. 20 Using the chord symbols IV and V, complete the table below, showing which chords are used in bars 1–14. Bars 1–4 Bars 5–8 Bars 9–10 Bars 11–12 Bars 13–14 I I7 [2] 21 Describe in detail the relationship between the two solo parts in bars 22–29. … … … [2] 22 The melody is incomplete in bar 26. Fill in the missing notes on the stave below. The rhythm has been given to help you. [3] 23 Name the bracketed interval in bar 34. … … [2]

11 0410/13/O/N/22 © UCLES 2022 [Turn over 24 (a) Name the key and cadence in bars 57–58. Key: … Cadence: … [2] (b) What is the relationship of this key to the tonic key of the extract? … [1] 25 (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? Beethoven Debussy Mozart Vivaldi [1]

12 0410/13/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 33) or Haydn: Symphony No. 100 (questions 34 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 26 to 29. 26 (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] 27 Describe the texture of the music in bars 21–39. … … … … [3] 28 Which harmonic feature is heard in bars 40–49? Circle of fifths Dominant pedal Phrygian cadence Tonic pedal [1]

13 0410/13/O/N/22 © UCLES 2022 [Turn over 29 Briefly describe the structure of the extract in relation to the movement as a whole. … … … [2]

14 0410/13/O/N/22 © UCLES 2022 Music D2 Look at the skeleton score, which you will find in the separate insert, and read through questions 30 to 33. 30 What theme is played by the cello at the beginning of the extract? … [1] 31 On the stave below, write the first two notes of the viola part in bar 1 in the treble clef. [2] 32 Explain what the term suspension means, with reference to bars 3–5. … … … [2] 33 Describe the writing for the solo violin in the music which follows the printed extract. … … … … [3]

15 0410/13/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 34 to 37. 34 (a) Which section of the movement begins at bar 1? … [1] (b) What key is the music in at the beginning of the extract? … [1] (c) Where is the melody which starts at bar 44 derived from? … [1] 35 Explain how the first subject is presented in bars 46–53. … … … [2] 36 Which two of the following are heard in bars 59–68? Canon Diminished seventh Drone Ostinato Polyrhythm Syncopation [2] 37 Which section of the movement is heard next (after the recorded extract)? … [1]

16 0410/13/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 38 to 40. 38 (a) In bar 1 the violas are marked ‘div.’. Explain what this means. … … [1] (b) On the stave below, write the two notes of the viola part in bar 21 in the treble clef. [2] 39 (a) Which instrument appears in this symphony for the first time from bar 9? … [1] (b) Describe precisely what this instrument plays in bars 13–16. … … … [2] (c) How are bars 9–16 different from bars 1–8? … … [1] 40 What is the tempo marking of the movement from which this extract is taken? … [1]

This document consists of 6 printed pages. © UCLES 2022 [Turn over Cambridge IGCSE™ MUSIC 0410/13 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.

0410/13 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.

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 3 of 6 Question Answer Marks 1 2 (accept 4) 1 2(a) Homophonic 1 2(b) Polyphonic / imitative 1 3 Harp / piano on every beat / cymbal on every other beat / repetitive / ostinato / walking-pace tempo / andante / alternating two notes 1 4 Harp glissando 1 5(a) Twentieth Century 1 5(b) There is an ostinato [1], a piano in the orchestra [1], dissonance / bitonality [1], chromaticism [1] and use of parallel motion [1]. 2 6 Repeated notes / quavers / melody is doubled in 3rds/6ths / pedal 1 7(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 7(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 8(a) Classical 1 8(b) Diatonic harmony / regular/balanced phrasing / homophonic 1 8(c) Mozart 1 9 It is not constant; it starts at a moderate tempo, speeds up, then slows down (at least two elements for the mark). 1 10 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]. 2 11(a) Percussion 1 11(b) Gamelan 1 11(c) Indonesia / Java 1 12(a) Koto 1 12(b) It always starts with the same / a low / a long note [1]. There is a generally ascending [1] broken chord [1] in shorter note values [1]. It is repetitive [1]. 2 13(a) Shakuhachi 1 13(b) Blown 1 14 Japan 1

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 4 of 6 Question Answer Marks 15 They play a (short melodic) riff [1] in unison [1] and syncopated [1] with a bright sound [1]. 2 16 1 17 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 18 There is an improvised / solo [1] on (electric) keyboard / organ / piano [1] and polyrhythms (on the drums) [1]. 2 19 Highlife [1], jazz [1], (American) soul [1], (American) funk [1], (traditional) African music [1] 2 20 Bars 1–4 Bars 5–8 Bars 9–10 Bars 11–12 Bars 13–14 I V I7 IV V Completely correct = 2 marks Two correct chords = 1 mark One correct chord = 0 marks 2 21 They start in imitation / canon [1] then they play (mainly) in thirds [1] 2 22 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 23 Perfect [1] fifth [1] (mark for perfect only if fifth is correct) 2 24(a) Key: G major Cadence: Perfect 2 24(b) Dominant 1 25(a) Baroque 1

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 5 of 6 Question Answer Marks 25(b) Presence of harpsichord / (basso) continuo [1] Use of ornaments [1] Orchestra of predominantly strings [1] Diatonic harmony [1] Terraced dynamics [1] Imitative / polyphonic / contrapuntal texture [1] Sequential melody [1] Trumpets playing high (to be able to access stepwise movement) [1] 2 25(c) Vivaldi 1 26(a) E minor 1 26(b) Relative minor 1 27 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 28 Circle of fifths 1 29 The movement is in ritornello form [1]. The extract is Ritornello (2) and (the start of) Episode (2) [1]. 2 30 The fugue subject 1 31 One mark per note 2 32 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 33 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 34(a) Development 1 34(b) B flat major 1 34(c) Second subject 1

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2022 © UCLES 2022 Page 6 of 6 Question Answer Marks 35 It is in E minor / the relative minor [1] with imitation between the strings and wind [1]. It is fragmented / only the first bar / first few notes are heard [1] combined with an idea from the new second subject [1]. 2 36 Diminished seventh [1] and syncopation [1] 2 37 Recapitulation 1 38(a) Divided (accept any reasonable explanation / division) 1 38(b) One mark per note 2 39(a) Clarinet 1 39(b) They double the melody [1] in octaves/thirds [1], playing the same as the oboes [1] 2 39(c) They are played by woodwind only (instead of by strings and flute). 1 40 Allegretto 1