Cambridge IGCSE Music 0410 — 2023 Oct/Nov Paper 1 · Variant 1

This document has 16 pages. Any blank pages are indicated. [Turn over Cambridge IGCSE™ * 3 0 2 6 3 8 1 6 5 9 * DC (EF) 318380/2 © UCLES 2023 MUSIC 0410/11 Paper 1 Listening October/November 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 [ ].

2 0410/11/O/N/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 choir and orchestra. The words are printed below. Read through questions 1 to 5. [Orchestral introduction] 1 Beat! beat! drums! – Blow! bugles! blow! 2 Through the windows – through the doors, burst like a ruthless force, 3 Into the solemn church, and scatter the congregation, 4 Into the school where the scholar is studying; 5 Leave not the bridegroom quiet, 6 No happiness must he have now with his bride, 7 Nor the peaceful farmer any peace, 8 Ploughing his field, or gathering in his grain, 9 So fierce you whirr and pound you drums – so shrill you bugles blow. [Orchestra] 1 Which of the following best describes the melodic shape of line 1? Ascends and descends in steps of a semitone Ascends and descends in steps of a tone Ascends in steps of a semitone Descends in steps of a tone [1] 2 The words describe the violence of war. How does the music of the introduction and lines 1–9 reflect this? … … … … [3]

3 0410/11/O/N/23 © UCLES 2023 [Turn over 3 Describe the orchestral music which follows line 9. … … … [2] 4 Which of the following best describes this extract? Aria Chorus Musical Recitative [1] 5 When was this music written? Baroque Classical Romantic Twentieth Century [1]

4 0410/11/O/N/23 © UCLES 2023 Music A2 You will hear an extract for instruments. Look at the skeleton score below and read through questions 6 to 9. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 Device? Extract continues... 15 16 17 18 19 20 34 &## &## &## œ œ™œJ œ œ Œ œ œ Œ œ œ œ œ œ œ œ œ™œJ œ œ Œ œ œ Œ œ œ œ œ œ œ œ œ™œJ œ œ Œ œ œ Œ œ œ œ œ œ œ œ# œ™œJ œ œ œ œ œ# œ œ œ™œJ œ œ œ œ œ# œ œ œ œ œ œ œ œ# œ œ# œ œn œ œ 6 Name the compositional device used in bars 15–16. … [1] 7 Which of the following best represents the structure of the recorded extract? The printed music is section A. AAABB AABBA AABCA AABCB [1] 8 (a) Which of the following is this extract an example of? Canon March Minuet Waltz [1]

5 0410/11/O/N/23 © UCLES 2023 [Turn over (b) Give three reasons for your answer. … … … … [3] 9 (a) When was this music written? Baroque Classical Romantic Twentieth Century [1] (b) Give a reason for your answer. … … [1]

6 0410/11/O/N/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 voices and instruments. Read through questions 10 to 11. 10 Describe the music heard during the three different parts of the extract. First Solo Voice … … … Second Solo Voice … … Group of Voices … … … [4] 11 (a) Where does this music come from? … [1] (b) Give a reason for your answer (do not repeat any information you have already given). … … [1]

7 0410/11/O/N/23 © UCLES 2023 [Turn over Music B2 You will hear an extract for voices and instruments. Look at the skeleton score and read through questions 12 to 14. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 C & & & & Extract continues... ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙™ œ œ œ œ œ œ œ œ™œj œ œ œ œ œ œ 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 œ ˙™ Œ 12 Describe how the printed melody is used by the voices when they enter. … … … [2] 13 After the voices have sung, the instrumental melody is heard again. How is the music different this time? … … … [2] 14 (a) Where does this music come from? … [1] (b) Give a reason for your answer. … … [1]

8 0410/11/O/N/23 © UCLES 2023 Music B3 (World Focus: Indian Music) You will hear an extract of folk music from Rajasthan. Read through questions 15 to 17. 15 The extract begins with a kamāichā. Describe in detail the construction of this instrument and how it is played. … … … … [3] 16 Describe the music of this extract, commenting on features which are typical of Rajasthani folk music. … … … … … [4] 17 (a) Describe the traditional performance contexts for Laṅgā and Māṅgaṇiyār musicians. … … … [2] (b) How has this changed more recently? … … [1]

9 0410/11/O/N/23 © UCLES 2023 [Turn over BLANK PAGE

10 0410/11/O/N/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 25. Answer the questions in this booklet. 18 The motif which begins the extract (marked with a bracket) is used again in bars 13–17. In what ways is the motif used differently here? … … … [2] 19 Describe precisely what is played by the right‑hand of the piano in bars 21 and 23. … … [1] 20 Describe the accompaniment to the melody in bars 274–312. … … … [2] 21 Name the bracketed interval in bar 39. … … [2]

11 0410/11/O/N/23 © UCLES 2023 [Turn over 22 The melody is incomplete in bars 49–50. Fill in the missing notes on the stave below. The rhythm has been given to help you. (The same melody is heard an octave higher in bars 57–58). &bb œ œ œ œ œ œ œ œ œ œ Ó [3] 23 (a) Name the key and cadence in bars 54–55. Key: … Cadence: … [2] (b) What is the relationship of this key to the tonic key of the extract? … [1] 24 This piece was composed at the end of the Classical period and the beginning of the Romantic period. Describe one feature of the music from each of these periods which is characteristic of the style. Classical: … … Romantic: … … [2] 25 Who composed this music? Beethoven Gershwin Handel Wagner [1]

12 0410/11/O/N/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 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 Describe in detail how the music changes when the melody from the start of the extract is heard again in bars 8–16. … … … … [3] 27 (a) How is the opening motif used in bars 28–35? … … … [2] (b) What rhythmic effect is heard here? Hemiola Off‑beat Polyrhythm Syncopation [1] 28 What is the title and tempo marking of this movement? … … [2]

13 0410/11/O/N/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 33. 29 What part of the exposition (before the recorded music) is very similar to the music from bar 13? … [1] 30 Bars 40–47 are identical to the opening eight bars of the movement. What changes are made in bars 48–53? … … … [2] 31 On the stave below, write the first two notes of the viola part in bar 55 in the treble clef. &# [2] 32 Describe the harmony in bars 62–70. … … [1] 33 (a) What is this symphony commonly known as? … [1] (b) What aspect of this movement contributed to it being given this name? … … [1]

14 0410/11/O/N/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 36. 34 Describe the music of bars 182–22. … … … … [3] 35 (a) On the stave below, write the first two notes of the viola part in bar 25 in the treble clef. & [2] (b) Comment on the rhythm of bars 25–31. … … … [2] 36 What is the name of the song which the music in this extract is based on? … [1]

15 0410/11/O/N/23 © UCLES 2023 Music D4 Look at the skeleton score, which you will find in the separate insert, and read through questions 37 to 40. 37 Explain how the music from bars 1–6 is different from when the equivalent passage was first played in the movement (before the recorded extract). … … … … [3] 38 Comment on the metre of the music in bars 7–10. … … … [2] 39 What do the bass instruments play in bars 14–23? Alberti bass Dominant pedal Tonic pedal Walking bass [1] 40 Why did Brahms write this piece? … … … [2]

16 0410/11/O/N/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 0410/11 Paper 1 Listening October/November 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 October/November 2023 series for most Cambridge IGCSE, Cambridge International A and AS Level components, and some Cambridge O Level components.

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 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 October/November 2023 © UCLES 2023 Page 3 of 6 Question Answer Marks 1 Ascends and descends in steps of a semitone 1 2 Fanfares [1]. Prominent use of ‘military instruments’ / trumpets / drums / percussion / brass [1]. March-like music [1]. Dissonant / angular melodic intervals / fragmented melodies [1]. Dissonant harmonies [1]. Staccato / accented / ff playing / sudden/big dynamic changes [1]. High-pitched singing (representing screaming) [1]. 3 3 A descending scale [1] is played as an ascending sequence [1]. Each scale is repeated / imitated [1] with different orchestration / trumpets on the repeat [1]. There is a drum / timpani roll [1]. 2 4 Chorus 1 5 Twentieth Century 1 6 Repetition 1 7 AABBA 1 8(a) Waltz 1 8(b) Triple time [1] Fast tempo [1] Um-cha-cha accompaniment [1] Strong first beat of the bar [1] One chord per bar [1] Regular phrase lengths [1] Clear melodic sections [1] Prominent melody [1] 3 9(a) Romantic 1 9(b) Large orchestra / significant use of brass/percussion 1 10 First Solo Voice The voice sings heterophonically (with the rabab) [1], accompanied by percussion [1]. There are four phrases [1], all of which are the same [1], separated by an interjection from the instrumental ensemble [1]. The instruments play the last (four) notes of the vocal melody. [1] The melody line has decoration/ornamentation [1] Second Solo Voice The second voice repeats the music of the first voice [1] (credit any points not awarded for the first solo voice). Group of Voices They sing two phrases [1] in unison [1] which are different [1] and at a lower pitch [1] Maximum three marks per section. 4 11(a) Arab tradition 1

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2023 © UCLES 2023 Page 4 of 6 Question Answer Marks 11(b) Use of quarter tone intervals (/ maqam) [1] Melody using a small range of notes [1] Highly rhythmic [1] Rabab / nay [1] Heterophonic texture [1] 1 12 (A solo voice) sings the melody from the end of bar 9 [1] but in general without the anacrusis / upbeat / with changed rhythms [1]. The same passage of melody is then harmonised [1] by other voices. 2 13 The first part of the melody is omitted / the panpipes play from the end of bar 9 [1]. (The melody is then repeated from the end of bar 9) with another instrument [1] doubling an octave higher [1] and a middle part [1] in longer note lengths [1]. 2 14(a) Latin / South America 1 14(b) Pan-pipes / syncopation / guitar(s) 1 15 It is made from (hard)wood / with a gourd chamber / with animal skin [1]. It has three main / fretted strings [1], tuned to the tonic, fifth and octave [1] and there are sympathetic strings [1]. It is sounded with a bow [1]. It is held in the lap / upright / vertically / sitting on the floor [1]. Left hand fingers press down with the nails [1] 3 16 The music starts non-metrical [1] then there is a pulse [1], then it is metric [1]. The dholak/khadtāl join [1]. There is a drone [1]. Bowed lutes are used to accompany singers [1]. 4 17(a) Laṅgās and Māṅgaṇiyārs musicians were traditionally employed under patronage from the wealthy classes [1] to perform for maṅgal / joyous and auspicious occasions e.g. birthdays, religious celebrations, ritual feasts and marriage ceremonies [1]. 2 17(b) Many groups perform for tourists at hotels / desert safari camps [1]. Some have become concert performers [1]. 1 18 It is played contrapuntally / overlapping / not in unison [1] one bar apart [1] and is extended in an ascending shape / doesn’t immediately descend [1]. The piano doesn’t play the motif [1]. The other two instruments are no longer in unison [1]. The final note is extended [1]. 2 19 Ascending / major / semiquaver scale (must have scale and one other word for the mark) 1 20 (Cello plays) repeated quavers / alternating notes / a rocking pattern / as a bass line [1] and (the clarinet / piano play an ascending) arpeggio [1]. 2 21 Major [1] third [1] (third must be correct to get the mark for major) 2

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2023 © UCLES 2023 Page 5 of 6 Question Answer Marks 22 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 23(a) Key: F (major) [1] Cadence: Perfect [1] 2 23(b) Dominant 1 24 Award maximum one mark per period: Classical: Generally regular phrase lengths [1]. Melodic material is generally motivic [1]. Typical piano textures include broken octaves / chords [1]. Romantic: Solo use of clarinet [1]. Mediant / unexpected / unusual key change / relationship at bar 39 [1]. Rubato in the performance [1]. 2 25 Beethoven 1 26 It is now piano / quiet [1] and reorchestrated [1]. The brass/timpani drop out [1], the (1st) violin melody is doubled by the bassoon (as well as the flute) [1], there is just string accompaniment [1] with rocking quavers [1] and oboes add a scalic interjection / linking motif [1]. Bar 3 is staccato but bar 11 is slurred/legato [1] 3 27(a) It is heard in imitation [1], reduced to two beats [1] and heard on every beat of the bar [1] instead of just the third. (The violins/oboes use it as) an ascending sequence [1] and (the bassoons/cellos/basses) use it as a decorated pedal [1]. 2 27(b) Hemiola 1 28 Minuet / Menuetto [1] Moderato [1] 2 29 Codetta 1 30 It is now played by the wind / rather than the strings [1], an octave higher [1] with imitation (between flute and 1st oboe) [1], sustained horns [1] and timpani [1]. 2 31 One mark per note 2

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2023 © UCLES 2023 Page 6 of 6 Question Answer Marks 32 (Alternation of) tonic and dominant chords / I and V / G and D major chords 1 33(a) Military 1 33(b) Turkish instruments or at least two of triangle/cymbals/(bass) drum 1 34 The full orchestra suddenly plays / tutti / ff / (very) loudly [1]. The main theme is in the bass [1] and the higher instruments play it in inversion [1]. It is reharmonised [1] with hints of B major [1]. 3 35(a) One mark per note 2 35(b) Triplets (in the violas and horns) are played against normal / duplet quavers [1] to create a cross-rhythm [1] 2 36 Fuchslied / Fox’s Song 1 37 It is played in C minor / not C major [1]. In bar 5 the theme is repeated [1] a semitone higher / in C# minor [1]. The upper strings play semiquavers [1] / (first) violins play in an extremely high register [1] / (second) violins play broken chords [1] 3 38 Groups of three descending crotchets [1] cross the bar lines [1] making the metre uncertain / feel like triple time [1] 2 39 Dominant pedal 1 40 He had been offered an honorary / doctorate from the University of Breslau [1] and wrote Academic Festival Overture as his thank you response [1]. 2