Cambridge IGCSE Music 0410 — 2023 May/June Paper 1 · Variant 2

This document has 20 pages. Any blank pages are indicated. [Turn over Cambridge IGCSE™ MUSIC 0410/12 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 [ ]. * 8 3 7 6 8 0 0 4 8 2 * DC (CJ) 316296/1 © UCLES 2023

2 0410/12/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 voices and orchestra. The words (which are sung in an English translation) describe the rising sun and are printed below. Read through questions 1 to 4. 1 Behold the Sun! 2 He creeps, he stalks, 3 He climbs, he strides, 4 He glows, he gleams; 5 He shines, resplendent and bright, 6 Enflamed and in majesty! 7 Hail, O glorious Sun! Thou source of light and life, all hail! 8 Hail, O glorious Sun! 1 What type of voice is heard first? … [1] 2 Give a suitable Italian tempo marking for the music at the beginning. … [1] 3 How does the music suggest the rising sun in lines 1–6? … … … … … [4]

3 0410/12/M/J/23 © UCLES 2023 [Turn over 4 (a) When was this music written? Baroque Classical Romantic Twentieth Century [1] (b) Who composed it? Chopin Haydn Ravel Vivaldi [1]

4 0410/12/M/J/23 © UCLES 2023 Music A2 You will hear an extract for orchestra. Look at the skeleton score and read through questions 5 to 7. 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 5 Describe the accompaniment in bars 1–12. … … … [2] 6 The printed melody is repeated when the extract continues. In what ways is the music different during this repeat? … … … … [3]

5 0410/12/M/J/23 © UCLES 2023 [Turn over 7 (a) What style of music has influenced this piece? Jazz Impressionism Minimalism Neo-Classicism [1] (b) Give two reasons for your answer. … … … [2]

6 0410/12/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 8 to 10. 8 Describe the texture during the first half of the extract. … … … [2] 9 (a) What instrument plays a solo during the second half of the extract? … [1] (b) Describe the accompaniment to this solo. … … … [2] 10 Where does this music come from? … [1]

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8 0410/12/M/J/23 © UCLES 2023 Music B2 You will hear an extract for instruments. There is a long introduction before the printed melody is heard. Look at the skeleton score and read through questions 11 to 14. 1 2 3 4 5 6 7 8 9 10 11 12 24 &bbbbb Introduction &bbbbb &bbbbb Extract continues... œ™œ œ ˙ œ œ œ œ œ ˙ œ™ œ œ œ™ œJ œ™ œ œ ˙ œ™ œJ œ œ œ œ œ œ™ œ œ ˙ 11 What playing technique is used at the beginning of the introduction? Arco Glissando Pitch bending Tremolo [1] 12 What instrument plays the printed melody? … [1]

9 0410/12/M/J/23 © UCLES 2023 [Turn over 13 Complete the table below to describe the different patterns played by the accompanying instrument after the introduction until the end of the extract. Bars 1–4 Low descending crotchets followed by a higher descending semiquaver pattern Bars 5–8 … … Bars 9–12 … … Bars 13–16 (not printed – heard as the extract continues) … … [3] 14 Where does this music come from? … [1]

10 0410/12/M/J/23 © UCLES 2023 Music B3 (World Focus: Indian Music) You will hear three passages from a piece of Classical Hindustani music, separated by short gaps. Read through questions 15 to 18. 15 What is the main melody instrument in the extract? … [1] 16 (a) First passage: what is the name of this section in the structure of the piece? … [1] (b) What features are typical of this section? … … … [2] 17 (a) Second passage: what is the name of this section in the structure of the piece? … [1] (b) What features are typical of this section? … … … [2] 18 (a) Third passage: what is the name of this section in the structure of the piece? … [1] (b) What features are typical of this section? … … … [2]

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12 0410/12/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 Name the bracketed interval in bar 22. … … [2] 23 Compare the melody of bars 35–38 with the music from the beginning of the extract, referring to similarities and differences. … … … … [3]

13 0410/12/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]

14 0410/12/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 33) or Brahms: Academic Festival Overture (questions 34 to 41). 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 29. 26 Haydn uses material from the start of the movement (before the recorded extract) in bars 8–14. How does he extend it? … … … … [3] 27 Describe the structure of the movement from which this extract is taken and explain how the extract fits into the structure as a whole. … … … [2] 28 What is the meaning of the word dolce in bar 14? … [1] 29 On the stave below, write the viola part in bar 16 in the treble clef. &# [2]

15 0410/12/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 30 to 33. 30 (a) What part of the exposition is heard from bar 1? … [1] (b) What is the purpose of this passage? … … [1] 31 (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] 32 Describe what is played next in the movement (after the recorded extract). … … … [2] 33 In which year was this symphony first performed? 1732 1790 1794 1809 [1]

16 0410/12/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 34 to 37. 34 (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] (c) What part of the exposition is this? … [1] (d) Comment on the tonality with reference to what might usually be expected at this point. … … … [2] 35 What compositional device is heard in the violin parts in bars 23–25? … [1]

17 0410/12/M/J/23 © UCLES 2023 [Turn over 36 In what order do the wind instruments play the printed music in bars 27–29? Clarinet, Flute, Oboe Clarinet, Oboe, Flute Oboe, Clarinet, Flute Oboe, Flute, Clarinet [1] 37 What is played next in the overture (immediately after the recorded extract)? … … [1]

18 0410/12/M/J/23 © UCLES 2023 Music D4 Look at the skeleton score, which you will find in the separate insert, and read through questions 38 to 41. 38 Explain how the music from bars 11–18 is different from when the equivalent passage was first played in the movement (before the recorded extract). … … … [2] 39 On the stave below, write the last two notes of the viola part in bar 18 in the treble clef. &bbb [2] 40 Describe the music of bars 184–24. … … … … [2] 41 Describe the horn playing technique which is used in bars 284–32, and explain why it is used here. … … … [2]

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20 0410/12/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. BLANK PAGE

This document consists of 6 printed pages. © UCLES 2023 [Turn over Cambridge IGCSE™ MUSIC 0410/12 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.

0410/12 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.

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2023 © UCLES 2023 Page 3 of 6 Question Answer Marks 1 Soprano 1 2 Adagio / largo / lento / grave 1 3 A rising chromatic scale / melody [1] Which reaches the highest point at the climax [1] The introduction of further voices / instruments / thickening of texture [1] Crescendo [1] Decreasing note values / more notes [1] Full choir and orchestra / ff trumpets / timpani at the climax [1] Major key (at the climax) [1] 4 4(a) Classical 1 4(b) Haydn 1 5 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 6 The melody is played by clarinet [1]. 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]. 3 7(a) Jazz 1 7(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 8 The melody is played heterophonically [1] in octaves [1] and there is a simple / repetitive bass line [1]. 2 9(a) Oud 1 9(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 10 Arab tradition / Middle East (accept any appropriate country) 1 11 Glissando 1 12 Shakuhachi 1

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2023 © UCLES 2023 Page 4 of 6 Question Answer Marks 13 Bars 5–8: There is a low bass note followed by two higher spread / arpeggiated chords [1] Bars 9–12: There is a semiquaver / ascending and descending / arpeggio / and a two-note / simple bass line [1]. Bars 13–16: It plays the (original) main melody (with arpeggiated chords, and the second phrase an octave lower than the first) [1] If descriptions are not quite detailed enough to award [1] in more than one box but there are still some accurate elements, award [1] (which can be in addition to [1] awarded for a full answer in one box. 3 14 Japan 1 15 Sarōd 1 16(a) Alap 1 16(b) The music is slow / non-metric / has no pulse [1] and freely improvised [1]. The soloist defines / explores the notes of the rāg [1]. It is accompanied by the tambūrā / drone [1]. 2 17(a) Gat 1 17(b) The tablā [1] plays the tāla / metrical cycle / the music is more metrical / there is a pulse [1]. 2 18(a) Jhāla 1 18(b) The soloist speeds up / the music is fast [1], the music is much more complex / virtuosic [1] and there is much use of fast repeated notes / striking of the drone strings [1]. 2 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

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2023 © UCLES 2023 Page 5 of 6 Question Answer Marks 22 Perfect [1] Fifth [1] (fifth must be correct to get the mark for perfect) 2 23 It is the same melody / melodic shape [1] but is played in a minor key / relative minor / lower [1]. The phrase has been shortened from 5 bars to 4 bars [1]. 3 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 There are new ideas [1]. Use of the rising quaver motif [1], including in inversion [1] and imitation [1]. The opening figure is used [1], but with a rising fifth instead of repeated notes [1]. 3 27 It is a minuet and trio [1], which is ternary [1]. This is the end of the minuet [1], where the opening material returns / a [1] and the start of the trio [1], the first section / c [1]. 2 28 Sweetly 1 29 One mark per note 2 30(a) Transition (accept bridge) 1 30(b) To modulate (to the dominant) 1 31(a) Cellos and basses 1 31(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 32 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 33 1794 1 34(a) Der Landesvater 1 34(b) E (major) 1 34(c) Second subject (first theme) 1 34(d) The second subject would usually be in the dominant [1]. E major is the ‘wrong’ key initially [1] but in bar 13 the theme is repeated in G major / the dominant [1]. 2

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2023 © UCLES 2023 Page 6 of 6 Question Answer Marks 35 (Ascending) sequence 1 36 Clarinet, Oboe, Flute 1 37 The second theme of the second subject / Fuchslied / Fox’s Song / bassoon melody 1 38 The whole orchestra plays [1] at a ff dynamic [1]. The sextuplets are now groups of 5 or 7 notes [1]. (Accept it is the recapitulation but omits the opening 16 bars [1]). The time signature is now C (not cut common time) [1] 2 39 One mark per note 2 40 The strings play the repeated three-note fragment (from the start of the passage) in unison [1]. The wind and horns answer in inversion (twice) [1]. The answering figure is then played repeatedly (in imitation) [1] and rises in pitch [1]. 2 41 It is a stopped note / gestopft / the hand is put into the bell of the instrument [1]. This flattens the note by a semitone / allows the (natural) horns to play a note they couldn’t otherwise play (but is needed by Brahms) [1]. 2