Cambridge IGCSE Music 0410 — 2023 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 2023 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 [ ]. * 5 6 6 7 3 3 8 6 8 9 * DC (CJ) 317921/2 © UCLES 2023

2 0410/11/M/J/23 © UCLES 2023 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 instrument. The words are printed below. Read through questions 1 to 5. 1 Behold, behold and listen while the fair 2 Listen, listen while the fair 3 Breathes in sweet sounds the yielding air. 4 Behold and listen, and listen while the fair 5 Behold and listen while the fair 6 Breathes in sweet sounds the yielding air. 7 Breathes in sweet sounds the yielding air. 1 (a) How many beats are there in each bar? … [1] (b) Suggest a suitable Italian tempo marking for this music. … [1] 2 Which of the following best describes the melodic shape of line 1? It starts with ascending leaps then moves mostly by step. It starts with ascending steps then moves mostly by leap. It starts with descending leaps then moves mostly by step. It starts with descending steps then moves mostly by leap. [1] 3 Name the melodic device heard between lines 3 and 4. … [1] 4 (a) Comment on the key at the start of line 4. … [1] (b) Name the cadence at the end of line 4. … [1]

3 0410/11/M/J/23 © UCLES 2023 [Turn over 5 Give two typical features of Baroque music heard in the extract. … … … [2]

4 0410/11/M/J/23 © UCLES 2023 Music A2 You will hear an extract for orchestra. Look at the skeleton score and read through questions 6 to 8. 1 2 3 4 5 6 7 8 9 10 11 12 44 &bbbb ∑ &bbbb ∑ &bbbb Extract continues... ∑ œ œ œ œ œ Œ ‰ œJ œ œ œn œ œb œ œb œj ‰ Œ Ó œ œ œ œ œ Œ ‰ œJ œ œ œn œ œ œ œb œj ‰ Œ Ó œb œ œ œ œ Œ ‰ œJ œ œ œn œ œb œ œb œj ‰ Œ Ó 6 Describe the accompaniment in bars 1–12. … … … [2] 7 (a) The printed melody is repeated when the extract continues. What instrument takes over the main melody? … [1] (b) In what other ways is the music different during this repeat? … … … [2]

5 0410/11/M/J/23 © UCLES 2023 [Turn over 8 (a) What style of music has influenced this piece? Jazz Impressionism Minimalism Neo-Classicism [1] (b) Give two reasons for your answer. … … … [2]

6 0410/11/M/J/23 © UCLES 2023 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 Describe the melody during the first half of the extract. … … … [2] 10 (a) What instrument plays a solo during the second half of the extract? … [1] (b) Describe the accompaniment to this solo. … … … [2] 11 Where does this music come from? … [1]

7 0410/11/M/J/23 © UCLES 2023 [Turn over Music B2 You will hear an extract for instruments. Look at the skeleton score below and read through questions 12 to 15. 1 2 3 4 Extract continues... 5 6 7 8 44 &b 3 &b œ œ œ™ œj œj œ œ œ œ™ œj œ™ œ œ ˙ ‰ œ œ œ œ œ œ ˙™ ‰ œ œ ˙ œ œ œ œ œ ≈ œ # ™ œj œ œ œ œ œ œn ™ œj œ œ œ œ œ œ™ œj œ Œ 12 What key is the music in? … [1] 13 What instrument plays the printed melody? … [1] 14 Describe the similarities and differences when the extract continues (after the printed music). … … … … [3] 15 Where does this music come from? … [1]

8 0410/11/M/J/23 © UCLES 2023 Music B3 (World Focus: Indian Music) You will hear two passages from a piece of Classical Hindustani music separated by a short gap. Read through questions 16 to 18. 16 (a) What instrument is playing the melody in the first passage? … [1] (b) What is the name of this section in the structure of the piece? … [1] (c) What features of the music are typical of this section? … … … … [3] 17 (a) What new instrument is heard in the second passage? … [1] (b) What term describes what this instrument plays? … [1] (c) How has the music of the melody instrument changed? … … … [2] 18 Briefly explain how Classical Hindustani music was traditionally transmitted. … … [1]

9 0410/11/M/J/23 © UCLES 2023 [Turn over BLANK PAGE

10 0410/11/M/J/23 © UCLES 2023 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 What key is the music in at the beginning? … [1] 20 The melody is incomplete in bar 5. Fill in the missing notes on the stave below. The rhythm has been given to help you. [3] 21 Compare bars 12–13 and 14–15 with bars 10–11, commenting on similarities and differences. … … … … [3] 22 Compare the music of bars 264–343 with bars 224–263, referring to similarities and differences. … … … … [3] 23 Name the bracketed interval in bar 35. … … [2]

11 0410/11/M/J/23 © UCLES 2023 [Turn over 24 What type of piece is this? March Minuet Sonata Waltz [1] 25 (a) When was this music written? Baroque Classical Romantic Twentieth Century [1] (b) Give two reasons for your answer. … … … [2]

12 0410/11/M/J/23 © UCLES 2023 SECTION D [16 marks] Set Work Answer all the questions on one set work: either Haydn: Symphony No. 100 (questions 26 to 32) or Brahms: Academic Festival Overture (questions 33 to 40). Haydn: Symphony No. 100 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 28. 26 (a) What part of the movement is heard at the start of the extract? … [1] (b) What is played by the bass instruments in bars 1–8 and what is its purpose? … … … [2] 27 On the stave below, write the viola part in bar 10 in the treble clef. &# [2] 28 How is the music in bars 143–28 different from how it was presented at the start of the movement (before the recorded extract)? … … … … [3]

13 0410/11/M/J/23 © UCLES 2023 [Turn over Music D2 Look at the skeleton score, which you will find in the separate insert, and read through questions 29 to 32. 29 (a) What part of the exposition is heard from bar 1 of this passage? … [1] (b) What is the purpose of this passage? … … [1] 30 (a) Which instruments first introduce the new grace note figure from bar 38? … [1] (b) How does Haydn use this idea in bars 38–49? … … [2] 31 Describe what is played next in the movement (after the recorded extract). … … … [2] 32 For which city was this symphony composed? Berlin London Paris Vienna [1]

14 0410/11/M/J/23 © UCLES 2023 Brahms: Academic Festival Overture 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 33 to 37. 33 On the stave below, write the viola part in bar 1 in the treble clef. &bbb [2] 34 The theme played by the violas in bars 1–5 is repeated in bars 6–11. Describe two differences during this repeat. … … … [2] 35 (a) From bar 214–253 the players are instructed to play ‘ben marc.’ (ben marcato). What does this mean? … [1] (b) What key is this passage in? … [1] 36 Comment on the rhythmic effect in bars 294–35. … … [1]

15 0410/11/M/J/23 © UCLES 2023 [Turn over 37 Where did the first performance of this overture take place? Elbphilharmonie Musikverein University of Breslau University of Cambridge [1]

16 0410/11/M/J/23 © UCLES 2023 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) What is the name of the song which is used as the theme that begins in bar 3? Der Landesvater Fuchslied Gaudeamus Igitur Liebeslied [1] (b) What key is this theme in? … [1] 39 Comment on the orchestration and texture in bars 3–11. … … … … [3] 40 (a) The music in bars 31–33 is similar to a passage heard earlier in the extract. What are the bar numbers of this earlier passage? Bars … to … [1] (b) How is the music of bars 31–33 different? … … … [2]

This document consists of 6 printed pages. © UCLES 2023 [Turn over Cambridge IGCSE™ MUSIC 0410/11 Paper 1 Listening May/June 2023 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 2023 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 2023 © UCLES 2023 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 2023 © UCLES 2023 Page 3 of 6 Question Answer Marks 1(a) 3 1 1(b) Andante / Moderato 1 2 It starts with ascending leaps then moves mostly by step 1 3 (Descending) sequence NOT ascending sequence 1 4(a) It is minor 1 4(b) Imperfect 1 5 Use of ornamentation [1], suspensions [1], presence of harpsichord [1] 2 6 Horns play a repeated / syncopated figure (accept call and response) [1] in harmony [1] after the trumpet. Strings play legato phrases [1]. Occasional syncopated chords / notes from the wind section [1]. Ref. to occasional / off- beat cymbal [1]. 2 7(a) Clarinet 1 7(b) (The first bar of each phrase (bars 1, 5 and 9)) is imitated (accept any description or call and response) (by flutes) [1]. (Flute and piccolo) play a different / staccato answering phrase / motif (after the second bar of each phrase) [1]. There is a descending / stepwise / legato motif played by oboe and clarinet [1]. The imitative / answering phrases / descending motifs are played in octaves [1]. Strings play staccato chords [1] on every beat/crotchet [1] (accept ref. to a regular rhythmic figure for [1]). The horns stop playing the syncopated figure [1]. 2 8(a) Jazz 1 8(b) Swung (quavers / rhythm) [1]. Blues scale / blue notes [1]. 12-bar blues chord pattern [1]. Muted trumpet solo [1]. Syncopation [1]. Comping (accept description) [1]. Extended chords [1]. 2 9 It is mostly stepwise [1] and very repetitive [1] in a minor tonality [1]. It has a range of an octave [1]. It is increasingly decorated as it continues [1]. 2 10(a) Oud 1 10(b) The other instruments play a syncopated [1] ostinato pattern [1] which is based on a two-note [1] motif from the first half of the extract [1]. 2 11 Arab tradition / Middle East (accept any appropriate country) 1 12 D minor 1 13 Bandoneon / accordion 1

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2023 © UCLES 2023 Page 4 of 6 Question Answer Marks 14 It is a varied repeat of the melody, now played by a guitar with a new violin countermelody (accept the music becomes polyphonic / it is a duet) and a more prominent plucked bass line. The accordion/bandoneon stops playing. A detailed description = 3 A fairly detailed description = 2 A reference to a similarity or a difference = 1 No information = 0 3 15 Argentina / South America / Latin America 1 16(a) Sitar 1 16(b) Alap 1 16(c) It is slow [1] and non-metric/has no sense of pulse [1]. It is freely improvised [1], exploring the notes of the rāg [1] and is accompanied only by the drone/tambūrā [1]. 3 17(a) Tablā 1 17(b) Time cycle / tāla / metrical cycle (accept tāl, taal) 1 17(c) It is now playing a fixed composition / gat [1] and is elaborated with ornamentation/melodic expansion/improvisation [1]. It is at a higher pitch [1]. 2 18 Via the guru-shishya / teacher-disciple system / within the family from parent to child / through oral and aural repetition and practice 1 19 E flat (major) 1 20 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 21 The music / fanfare played by the brass / trumpets in bar 10 is repeated [1] exactly in bars 12 and 14. The rhythm of the answering phrase / bar 11 is the same (in bars 13 and 15) [1]. In bar 13 the melodic shape is also the same [1] but the music is minor [1]. In bar 15 the melodic shape is different / ascending / stepwise (rather than in leaps) [1] and is in a (different) major key [1]. The texture changes from monophonic to homophonic each time [1]. 3

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2023 © UCLES 2023 Page 5 of 6 Question Answer Marks 22 It is the same melodic shape initially [1] but is played an octave higher (by the violins) OR is doubled an octave higher (by the flutes) [1]. The melody changes in the second half and the shape is initially ascending / not descending [1]. It uses a chromatic scale [1] and it ends on a perfect cadence / not imperfect [1]. 3 23 Minor [1] third [1] (third must be correct to get the mark for minor) 2 24 March 1 25(a) Romantic 1 25(b) Very large orchestra / use of heavy brass section / piccolo / range of orchestral percussion instruments [1]. Melodic use of brass / brass used alone [1]. Lyrical second theme [1]. 2 26(a) Link 1 26(b) A dominant pedal / pedal D [1] to prepare for the return of (the a theme in) the tonic [1] 2 27 One mark per note 2 28 It contains elements of the first and second statements [1]. The violas now double the melody [1] an octave lower and the flute [1] an octave higher. There is a rocking quaver accompaniment [1]. The oboe link is added [1]. Rising quavers are added in the accompaniment [1]. The theme is extended [1] 3 29(a) Transition (accept bridge) 1 29(b) To modulate (to the dominant) 1 30(a) Cellos and basses 1 30(b) In imitation [1] between the cellos/basses and 1st violins [1], then the 1st violins alone [1] without the octave jump [1] and then in imitation between the cellos / basses and 2nd violins [1]. 2 31 The development (accept Section C) [1]. It is the second part of the second subject / pairs of descending crotchets [1] with bars of rest in between [1], p or pp [1]. 2 32 London 1 33 One mark per note 2

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2023 © UCLES 2023 Page 6 of 6 Question Answer Marks 34 The key is now D flat (major) / not F (major) [1]. The theme is played by horn [1] and harmonised by bassoons / not upper strings [1]. The note in the middle / bar 3 / bar 8 is elongated [1]. 2 35(a) Well marked 1 35(b) E minor 1 36 Some of the instruments repeat the same music a quaver later than the others (accept syncopated as part of a fuller answer – not just the word) [1] which makes them sound like they are playing out of time with each other / sounds unsettling [1] 1 37 University of Breslau 1 38(a) Der Landesvater 1 38(b) C (major) 1 39 The melody is played by the (second) violins [1]. The violas play in harmony / sixths with the melody [1]. The (first) violins play an inverted pedal [1] which is doubled by the horns [1]. The cellos play a pizzicato / broken chord accompaniment [1]. A stepwise bass line is played by double basses and bassoons [1]. 3 40(a) 27 to 29 1 40(b) The rhythm has been changed to triplets [1] and it is played by wind instruments (rather than violins) / is passed around different instruments [1] who double in thirds / sixths (rather than mainly octaves) [1]. Bars 31–32 are an octave lower [1]. 2