Cambridge IGCSE Music 0410 — 2024 May/June Paper 1 · Variant 1

This document has 16 pages. [Turn over Cambridge IGCSE™ MUSIC 0410/11 Paper 1 Listening May/June 2024 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 [ ]. * 9 5 9 3 0 8 0 7 7 4 * DC (LK) 332911/2 © UCLES 2024

2 0410/11/M/J/24 © UCLES 2024 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 from an opera. The words (which are sung in an English translation) are printed below. Read through questions 1 to 6. 1 Brave soldiers, 2 Brave soldiers 3 Arise and join me, my proud and trusty warriors; 4 My proud and trusty warriors. 5 This is a day of triumph: be happy and celebrate. 6 Yes, my proud and trusty warriors 7 Be happy, yes, be happy and celebrate; 8 Yes, yes be happy; yes, yes be happy, be happy and celebrate. 9 Our voices let us raise in your eternal praise. 10 Our voices let us raise in your eternal praise. 1 What type of voice is heard at the beginning of the extract? … [1] 2 Which of the following describes the melodic shape of line 2? An ascending interval followed by an ascending scale. An ascending interval followed by a descending scale. A descending interval followed by an ascending scale. A descending interval followed by a descending scale. [1] 3 What term describes the setting of the word ‘warriors’ in line 4? … [1]

3 0410/11/M/J/24 © UCLES 2024 [Turn over 4 Which term describes the music of lines 5–8? Aria Chorus Recitative [1] 5 In what ways does the music of lines 9–10 help to suggest the meaning of the words? … … … … [3] 6 Who composed this music? Bach Debussy Monteverdi Rossini [1]

4 0410/11/M/J/24 © UCLES 2024 Music A2 You will hear an extract for instruments. Look at the skeleton score below and read through questions 7 to 10. Cadence? 1 2 3 4 5 6 7 8 Changes? 9 10 11 12 13 14 15 16 34 & bb & bb 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 ˙ ˙™ 7 Suggest a suitable Italian tempo marking for this music. … [1] 8 Name the key and cadence in bars 7–8. Key: … Cadence: … [2] 9 When the melody from bars 1–8 is repeated in bars 9–16, how does the music change? … … … [2]

5 0410/11/M/J/24 © UCLES 2024 [Turn over 10 (a) When was this music composed? Baroque Classical Romantic Twentieth Century [1] (b) Give two reasons for your answer. … … … [2]

6 0410/11/M/J/24 © UCLES 2024 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 and voices. Read through questions 11 to 13. 11 Describe the music of the instrumental introduction (before the voices enter). … … … … [3] 12 Describe the music sung by the voices. … … … [2] 13 Where does this music come from? … [1]

7 0410/11/M/J/24 © UCLES 2024 [Turn over Music B2 You will hear two passages from a piece of music for instruments, separated by a short gap. Read through questions 14 to 15. 14 (a) Name the main instrument in the first passage. … [1] (b) How is the sound produced on this instrument? … [1] 15 (a) Where does this music come from? … [1] (b) Give reasons for your answer, referring to the music of both passages. … … … … [3]

8 0410/11/M/J/24 © UCLES 2024 Music B3 (World Focus: Latin American Music) You will hear an extract of choro music. Look at the skeleton score and read through questions 16 to 19. 24 & # & # & # & # 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 œn 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 œn œ œ œ# œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ# œ œ œ œ# œ œn œ œ œ œ œ œ# œ œn œ œ œ œ œn œ œ œb œ œ œ œ œ œn œ œ œ œn œ œ# œ œ œ œ œ œ œ œ 16 Complete the table below to show what each instrument plays in the printed passage. Instrument Music Clarinet Plays the printed melody … Plays strummed chords Guitar … … … [4]

9 0410/11/M/J/24 © UCLES 2024 [Turn over 17 The printed passage is Section A of the extract. Which of the following best describes the structure of the whole extract? ABABA ABACA ABCBA ABCDA [1] 18 What other features of the extract are typical of choro? Do not repeat any information already given in your answers. … … … … [4] 19 Explain what is meant by the term ‘roda de choro’. … … [1]

10 0410/11/M/J/24 © UCLES 2024 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 a theme and two variations for instruments, separated by short gaps. 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 What word describes the articulation used by the strings at the start of the extract? … [1] 21 Name the compositional device used in bars 44– 83. … [1] 22 Name the bracketed interval in bar 9. … … [2] 23 The melody is incomplete in bar 14. Fill in the missing notes on the stave below. The rhythm has been given to help you. (The same melody is used in bar 2.) [3]

11 0410/11/M/J/24 © UCLES 2024 [Turn over 24 The printed theme is followed by two variations. Describe how the music has changed for each variation. Variation 1: … … … Variation 2: … … … [4] 25 (a) Briefly explain what is meant by the term ‘neoclassical’. … … [1] (b) Identify three features of the music which show that it is neoclassical. … … … … [3] (c) Who composed it? Debussy Gershwin Prokofiev Reich [1]

12 0410/11/M/J/24 © UCLES 2024 SECTION D [16 marks] Set Work Answer all the questions on one set work: either Beethoven: Symphony No. 5 (questions 26 to 33) or Wagner: The Mastersingers of Nuremberg, Overture (questions 34 to 40). Beethoven: Symphony No. 5 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 instruments play the printed melody in bars 1–4? … [1] (b) What key is the music in at the beginning of the extract? … [1] 27 How does the music played by the violins in bars 5–8 contrast with bars 1–4 of the extract? … … … [2] 28 How does Beethoven build excitement in bars 21–36? … … … … [3] 29 What part of the exposition is heard from bar 52? … [1]

13 0410/11/M/J/24 © UCLES 2024 [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 On the stave below, write the first two notes of the viola part in bar 3 in the treble clef. &bbbb [2] 31 Name the key and cadence in bars 7–8. Key: … Cadence: … [2] 32 Describe the accompaniment in bars 223–31. … … … … [3] 33 In which city was this symphony first performed? Berlin London Paris Vienna [1]

14 0410/11/M/J/24 © UCLES 2024 Wagner: The Mastersingers of Nuremberg, 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 On the stave below, write the first two notes of the second clarinet part (the lower part) in bar 4 at sounding pitch. & [2] 35 (a) The performance indication in bar 10 is Bewegt, doch immer noch etwas breit. What does it mean? Agitated, though always still rather broad. Excited, and always getting faster and louder. Moderately, in the tempo of the beginning. Tenderly, with great feeling and expression. [1] (b) What section of the overture begins at bar 10? … [1] (c) What is the purpose of this section? … [1] 36 (a) What does the theme in bar 18 represent? … [1] (b) What key is it in? … [1]

15 0410/11/M/J/24 © UCLES 2024 [Turn over 37 When was the first performance of the overture? 1813 1842 1862 1883 [1]

16 0410/11/M/J/24 © UCLES 2024 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 does the theme which is played at the beginning of the extract represent? … [1] (b) How is the accompaniment to bars 1–63 of this theme different from the first time this passage was heard in the overture (before the recorded extract)? … … … … [3] 39 Which two of the following features are heard in bars 20–23? Tick two boxes. Accelerando Dominant pedal Harp glissandos Tonic pedal Trills Trumpet fanfares [2] 40 Comment on the harmony from bar 272 to the end of the extract. … … … [2]

This document consists of 6 printed pages. © Cambridge University Press & Assessment 2024 [Turn over Cambridge IGCSE™ MUSIC 0410/11 Paper 1 Listening May/June 2024 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 2024 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 2024 © Cambridge University Press & Assessment 2024 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 descriptions 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 2024 © Cambridge University Press & Assessment 2024 Page 3 of 6 Question Answer Marks 1 Bass (accept baritone) 1 2 An ascending interval followed by a descending scale 1 3 Melisma (accept cadenza/arpeggio) 1 4 Aria 1 5 The chorus/many voices (represent a group of soldiers/warriors) [1]. It is loud [1]. The music is faster [1] and higher/has tenor voices [1] with a large rising interval [1] (representing raise/praise etc). Dotted rhythms [1] (representing praise/celebrate/military context). Use of horns/brass playing dotted/military rhythms. 3 6 Rossini 1 7 Allegretto/Allegro moderato/tempo di menuetto (accept Allegro) 1 8 Key: B flat (major) Cadence: Perfect 2 9 The strings play much quieter/become the accompaniment/the harpsichord becomes the main part/plays the melody [1] and the harpsichord/strings add decoration [1] 2 10(a) Baroque 1 10(b) Use of harpsichord/basso continuo [1]. Terraced dynamics [1]. Ornamentation/trills/decorated repeat of melody [1]. 2 11 It begins with one instrument playing a syncopated pattern [1] then the other instruments enter one by one [1] playing ostinatos [1] and polyrhythms/cross rhythms [1] in short note values [1]. They are all percussion instruments/there are many drums (of different pitches) [1]. The balafon/silimba (accept marimba, xylophone) [1] plays a melody in triplets/compound time [1] which is repeated a number of times [1]. 3 12 They use call and response [1]. There is a long call and a shorter response [1] and then the opposite [1]. There is a solo (accept male) and a group (accept males) [1]. The response is in unison [1]. There are repeated motifs [1]. Each vocal line has a relatively narrow range [1] and generally falls [1]. (The call and response) share some material [1] 2 13 Africa 1 14(a) Sarangi 1 14(b) It is a bowed string instrument 1 15(a) India 1

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2024 © Cambridge University Press & Assessment 2024 Page 4 of 6 Question Answer Marks 15(b) Texture of melody and drone [1] Rhythmically free in the first passage [1] Metrical in the second passage (accept explained ref. to tala) [1] A tabla plays[1] The music is improvised [1] 3 16 Cavaquinho [1] (plays strummed chords) (Guitar) plays a (walking) bass line/low countermelody [1] Pandeiro [1] plays a repetitive/rhythmic/ostinato accompaniment/maintains the pulse [1] 4 17 ABACA 1 18 Rondo form [1] In a simple key/G major [1]. Each section is 16 bars long/the sections/phrases are of equal length [1]. Rondo episodes in contrasting keys (relative minor then subdominant) [1]. 2/4 time [1]. Constant semiquaver movement [1]. Use of bandolim as a solo instrument [1]. 4 19 Choro circle [1]. A small/informal gathering of musicians [1]. 1 20 Staccato (accept pizzicato/plucked) 1 21 (Ascending) sequence 1 22 Major [1] third [1] (mark for major only if third is correct) 2 23 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 24 Variation 1: It is in a major/different key/it has modulated [1]. The (solo) piano enters [1] and the theme is heard (largely unaltered) [1], there are chromatic chords [1] and it is more legato/smoother [1]. Variation 2: It is faster [1] and louder/the full orchestra plays [1] with a virtuosic/semiquaver/running/scalic/stepwise/descending and ascending piano part [1]. Fragments of the melody are heard (in the brass/trumpet/violins) [1]. Maximum 3 marks for any one variation. 4 25(a) Music written in the 20th Century but in the style of the baroque or classical eras (accept any answer which demonstrates this understanding). 1

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2024 © Cambridge University Press & Assessment 2024 Page 5 of 6 Question Answer Marks 25(b) Regular/balanced phrase lengths [1] Accept reference to small orchestration at the start or larger orchestra in variation 2 [1]. Tonal theme [1] with much chromaticism [1]. Some dissonance [1] and rapid modulations [1]. Theme and variation structure [1]. 3 25(c) Prokofiev 1 26(a) Horns 1 26(b) E flat (major)/relative major 1 27 It is piano/quiet [1], legato/dolce [1], entirely in crotchets [1] and mostly conjunct [1] accept higher [1]. 2 28 There is an ascending sequence [1], increasing chromaticism (accept modulation) [1], the insistent opening motif rhythm in the bass [1], the four-bar phrase is reduced to two bars [1], repetition (of the two-bar phrase) [1], an ascending chromatic bass line [1], a crescendo [1] and the addition of more instruments [1]. 3 29 Codetta 1 30 One mark per note 2 31 Key: A flat (major) Cadence: perfect 2 32 The melody is harmonised in thirds/sixths [1] and the violas have triplet staccato semiquaver [1] broken chords [1] while the cellos/basses have a pizzicato bass line [1]. Accept violins join for the ends of phrases [1]. The whole orchestra joins in (at bar 29) [1], ff [1]. 3 33 Vienna 1 34 One mark per note 2 35(a) Agitated, though always still rather broad 1 35(b) Transition (accept bridge) 1 35(c) To modulate (to the second subject) 1 36(a) (Walther’s) love 1

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2024 © Cambridge University Press & Assessment 2024 Page 6 of 6 Question Answer Marks 36(b) E (major) 1 37 1862 1 38(a) Mastersingers’ march 1 38(b) Brass only/no woodwind or harp [1]. No scales [1]. Walking bassline [1] (in lower strings), which is doubled an octave higher by first violins [1]. An offbeat [1] sextuplet semiquaver figure [1] in upper strings. 3 39 Dominant pedal [1] Trills [1] 2 40 It is an extended plagal cadence [1] with chord IV/F major heard from bar 272 – 30 [1] and C major from bar 31 to the end [1]. It is diatonic [1]. 2