Cambridge IGCSE Music 0410 — 2023 May/June Paper 1 · Variant 3

This document has 16 pages. Any blank pages are indicated. [Turn over Cambridge IGCSE™ MUSIC 0410/13 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 [ ]. * 0 1 1 1 4 3 6 4 5 3 * DC (CJ) 316262/2 © UCLES 2023

2 0410/13/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 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] 2 (a) How many beats are there in each bar? … [1] (b) Suggest a suitable Italian tempo marking for this music. … [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 0410/13/M/J/23 © UCLES 2023 [Turn over 5 Give two typical features of Baroque music heard in the extract. … … … [2]

4 0410/13/M/J/23 © UCLES 2023 Music A2 You will hear an extract for instruments. Look at the skeleton score below and read through questions 6 to 8. Instrument? 1 2 3 4 5 6 7 Compare 8 9 10 11 12 13 14 15 16 17 18 19 Texture? Relationship? 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 24 &bbb &bbb &bbb &bbb ∑ &bbb œ œ œn œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œb œ œb œ œb œ œb œ œ œn œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ ‰ œj œ œ œ œ ‰ œ œJ œ œb œ Œ ˙b ˙b ‰ œJ œ œb œ œ ‰ œbJ œ œ œb œ œ œ œ œ 6 (a) Name the instrument that plays the printed melody in bars 02–81. … [1] (b) Compare the music in bars 82–161 with bars 02–81, commenting on similarities and differences. … … … … [3]

5 0410/13/M/J/23 © UCLES 2023 [Turn over 7 (a) Describe the texture heard in bars 21–28. … … [1] (b) Which of the following best describes the relationship between the two instruments in bars 29–34? Contrary motion Imitation Inversion Unison [1] 8 (a) When was this music written? Baroque Classical Romantic Twentieth Century [1] (b) Give a reason for your answer. … … [1]

6 0410/13/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. Look at the skeleton score below and read through questions 9 to 12. 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 9 Name the key of the extract. … [1] 10 What instrument plays the printed melody? … [1] 11 Describe the similarities and differences when the extract continues (after the printed music). … … … … [3] 12 Where does this music come from? … [1]

7 0410/13/M/J/23 © UCLES 2023 [Turn over Music B2 You will hear an extract for instruments. Read through questions 13 to 14. 13 (a) Name the first instrument. … [1] (b) Describe the music played by the first instrument in the introduction (before the entry of the second instrument). … … … … [3] (c) Name the second instrument. … [1] 14 Where does this music come from? … [1]

8 0410/13/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 15 to 17. 15 (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] 16 (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] 17 Where was Classical Hindustani music played before the twentieth century? … [1]

9 0410/13/M/J/23 © UCLES 2023 [Turn over BLANK PAGE

10 0410/13/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 18 to 23. Answer the questions in this booklet. 18 Comment on the use of percussion in bars 1–8. … … … [2] 19 Name the bracketed interval in bar 2. … … [2] 20 The melody is incomplete in bars 5–6. Fill in the missing notes on the stave below. The rhythm has been given to help you. 5 6 7 / &bbb œj œ œ œ œ œ™ œJ ‰ œJ ‰ œ™ œj œ œ œ œ œJ ‰ œJ ‰ [3] 21 The melody heard in bars 1–8 is used in bars 9–16 and 17–24. Complete the table below, describing the features of the music that have been changed. What has changed? Bars 9–16 … … … Bars 17–24 … … … [4]

11 0410/13/M/J/23 © UCLES 2023 [Turn over 22 (a) Which of the following best describes this music? March Minuet Recitative Waltz [1] (b) Give three reasons for your answer. … … … … [3] 23 This music was written in the Twentieth Century. Describe one feature of the music which reflects this. … … [1]

12 0410/13/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 24 to 31) or Brahms: Academic Festival Overture (questions 32 to 39). 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 24 to 27. 24 (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] 25 What instrument plays with the strings in bars 8–141? … [1] 26 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] 27 For which city was this symphony composed? Berlin London Paris Vienna [1]

13 0410/13/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 28 to 31. 28 Name and comment on the keys in bars 9–16. … … … … [3] 29 On the stave below, write the viola part in the second half of bar 30 in the treble clef. &# [2] 30 (a) What part of the exposition is this extract? … [1] (b) What is the structure of this part of the movement? … [1] 31 Give the tempo marking of the movement from which this extract is taken. … [1]

14 0410/13/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 32 to 36. 32 On the stave below, write the viola part in bar 1 in the treble clef. &bbb [2] 33 The theme played by the violas in bars 1–5 is repeated by the first horn in bars 6–11. Identify and explain the relationship between the keys this theme is played in. … … … [2] 34 (a) From bar 214–253 the players are instructed to play ‘ben marc.’ (ben marcato). What does this mean? … [1] (b) What key are these bars in? … [1] 35 Comment on the rhythmic effect in bars 294–35. … … [1] 36 When was Academic Festival Overture first performed? 1833 1862 1881 1897 [1]

15 0410/13/M/J/23 © UCLES 2023 Music D4 Look at the skeleton score, which you will find in the separate insert, and read through questions 37 to 39. 37 (a) What key is the music in at bar 3? … [1] (b) What is the relationship of this key to the key of the overture as a whole? … [1] 38 Comment on the orchestration and texture in bars 3–11. … … … … [3] 39 (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]

16 0410/13/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 0410/13 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.

0410/13 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.

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2023 © UCLES 2023 Page 3 of 6 Question Answer Marks 1 It starts with ascending leaps then moves mostly by step 1 2(a) 3 1 2(b) Andante / Moderato 1 3 (Descending) 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(a) Violin (accept viola) 1 6(b) The same melody [1] is now played by a horn [1] with the violin / first instrument adding a new accompanying figure / quavers [1], including double stopping [1]. The piano is exactly as before / still playing the accompaniment [1]. 3 7(a) It is homophonic / melody and accompaniment / the piano is silent on the first beat with chords on the second beat. 1 7(b) Imitation 1 8(a) Romantic 1 8(b) Modulation to a wide range of keys / chromaticism / lyrical melody 1 9 D minor 1 10 Bandoneon / accordion 1 11 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 12 Argentina / South America / Latin America 1 13(a) Koto 1

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2023 © UCLES 2023 Page 4 of 6 Question Answer Marks 13(b) There are single notes in a generally rising shape using the (minor) pentatonic scale then some fast glissandos descending and ascending and increasing in tempo, with some variations in dynamics. There is then a slower descending and ascending glissando over a wider range of pitch. Finally, there is a trill with a diminuendo. There are some elements which sound improvised / in free time. A comprehensive answer [3] A reasonable answer [2] One or two points mentioned [1] No correct elements [0] 3 13(c) Shakuhachi 1 14 Japan 1 15(a) Sitar 1 15(b) Alap 1 15(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 16(a) Tablā 1 16(b) Time cycle / tāla / metrical cycle (accept tāl, taal) 1 16(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 17 Courts / temples 1 18 Timpani play on the first beat of the bar for the first few bars [1] and then mostly on beats 1 and 3 [1]. The (snare) drum plays on the third beat [1] often with drags / short trills / grace notes / rolls / crescendo [1]. 2 19 Minor [1] third [1] (third must be correct to get the mark for minor) 2 20 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

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2023 © UCLES 2023 Page 5 of 6 Question Answer Marks 21 What has changed? Bars 9–16 The melody is an octave higher [1] It is louder / there are more instruments / thicker orchestration [1] There is now an (off-beat) cymbal [1] Bars 17–24 It starts in a different/major key [1] The melody changes / rises (from the third bar) [1] It is quieter / there are fewer instruments [1] 4 22(a) March 1 22(b) 4/4 / quadruple time [1]. Regular / strong beat / pulse/tempo [1]. Significant use of wind / brass / percussion [1]. Some use of triadic / fanfare-like melody lines [1]. Some dotted rhythms [1]. Brisk marching tempo [1]. Crotchet pulse played throughout / walking bass line [1] 3 23 Large orchestra / significant use of wind/brass/percussion / xylophone / unusual brass trill / reference to key relationships in bar 27 1 24(a) Link 1 24(b) A dominant pedal [1] to prepare for the return of (the a theme in) the tonic [1] 2 25 Flute 1 26 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 27 London 1 28 They begin in E minor / the relative minor [1] and then (hint at) D minor [1], which is destabilising [1] so soon in the movement [1]. 3 29 One mark per note 2 30(a) First subject / A section 1 30(b) Rondo(-like) / aabcabca / abca 1 31 Presto 1

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2023 © UCLES 2023 Page 6 of 6 Question Answer Marks 32 One mark per note 2 33 The violas play the theme in F (major) / the horns in D flat (major) [1]. This is a mediant/tertiary relationship [1] as the keys are a third apart [1]. 2 34(a) Well marked 1 34(b) E minor 1 35 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 36 1881 1 37(a) C (major) 1 37(b) Tonic major 1 38 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 39(a) 27 to 29 1 39(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