Cambridge IGCSE Music 0410 — 2024 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 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 [ ]. * 7 2 3 7 1 7 5 3 7 0 * DC (CJ) 330431/3 © UCLES 2024 ,

 
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2 0410/13/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 for voice and instruments in two clear sections. The words are in French. Read through questions 1 to 4. 1 What type of voice is heard? … [1] 2 Give a suitable Italian tempo marking for the first section of music. … [1] 3 How does the second section contrast with the first section? … … … … [3] 4 (a) When was this music written? Baroque Classical Romantic Twentieth Century [1] (b) Give reasons for your answer. … … … [2] * 0019655424102 * ,

 
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4 0410/13/M/J/24 © UCLES 2024 Music A2 You will hear an extract for instruments. Look at the skeleton score below and read through questions 5 to 7. Relationship? 1 2 3 4 5 6 7 8 Changes? Cadence? 9 10 11 12 13 14 15 16 34 & bb Violin 1 & 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 ˙ ˙™ 5 (a) There are two violin parts in this extract. Describe the relationship between them in bars 1–8. … … [1] (b) When the melody from bars 1–8 is repeated in bars 9–16, how does the music change? … … … [2] 6 (a) Name the key and cadence in bars 15–16. Key: … Cadence: … [2] (b) What is the relationship to the tonic key of the extract? … [1] * 0019655424104 * ,

 
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5 0410/13/M/J/24 © UCLES 2024 [Turn over 7 (a) Which of the following best describes this extract? March Minuet Oratorio Waltz [1] (b) Give a reason for your answer. … … [1] * 0019655424105 * ,

 
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6 0410/13/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. Read through questions 8 to 10. 8 Describe the music played by the two accompanying instruments in the first part of the extract. … … … [2] 9 (a) Name the percussion instrument which joins later in the extract. … [1] (b) How does the music played by the main melody instrument change when this new instrument enters? … … … [2] 10 Where does this music come from? … [1] * 0019655424106 * ,

 
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7 0410/13/M/J/24 © UCLES 2024 [Turn over Music B2 You will hear an extract for instruments and voices. Read through questions 11 to 13. 11 Referring to the music heard before the entry of the voices: (a) Describe the music at the start of the extract. … … … [2] (b) Name the melodic instrument. … [1] 12 Describe the music sung by the voices. … … … [2] 13 Where does this music come from? … [1] * 0019655424107 * ,

 
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8 0410/13/M/J/24 © UCLES 2024 Music B3 (World Focus: Latin American Music) You will hear an extract of samba music, with two contrasting sections. Read through questions 14 to 16. 14 What features of the first section are typical of samba? … … … … … [4] 15 Name and describe the music of the second section. … … … … [3] 16 What is the typical performance and social context for samba? … … … … [3] * 0019655424108 * ,

 
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9 0410/13/M/J/24 © UCLES 2024 [Turn over BLANK PAGE * 0019655424209 * ,

 
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10 0410/13/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 17 to 23. Answer the questions in this booklet. 17 What word describes the articulation used by the strings at the start of the extract? … [1] 18 Suggest a suitable Italian tempo marking for the printed music. … [1] 19 Name the compositional device used in bars 44– 83. … [1] 20 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.) 13 14 15 44 44 / &# œ œ œ œ œ œ œ# œ œ# œn œ œ# [3] 21 Name the bracketed interval in bars 12–13. … … [2] * 0019655424210 * ,

 
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11 0410/13/M/J/24 © UCLES 2024 [Turn over 22 The printed theme is followed by two variations. Describe how the music has changed for each variation. Variation 1: … … … Variation 2: … … … [4] 23 (a) Identify three features of the music which show that it is neoclassical. … … … … [3] (b) Who composed it? Debussy Gershwin Prokofiev Reich [1] * 0019655424211 * ,

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12 0410/13/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 24 to 29) or Wagner: The Mastersingers of Nuremburg, Overture (questions 30 to 36). 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 24 to 26. 24 (a) Describe the similarities and differences between bars 1–4 of the extract and the main motif of the symphony. … … … [2] (b) How does the music played by the violins in bars 5–8 contrast with bars 1–4 of the extract? … … … [2] 25 How does Beethoven build excitement in bars 21–36? … … … … [3] 26 What part of the exposition is heard from bar 52? … [1] * 0019655424212 * ,

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13 0410/13/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 27 to 29. 27 On the stave below, write the first two notes of the clarinet part in bar 6 at sounding pitch. The key signature has been given. &bbbb [2] 28 (a) Name the key and cadence in bars 9–10. Key: … Cadence: … [2] (b) What is the relationship of this key to the key of the movement? … [1] 29 Describe the presentation of the theme (including the accompaniment) from bars 182–26. … … … … [3] * 0019655424213 * ,

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14 0410/13/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 30 to 33. 30 On the stave below, write the last two notes of the second clarinet part (the lower part) in bar 2 at sounding pitch. & [2] 31 (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] 32 (a) What does the theme in bar 18 represent? … [1] (b) What key is it in? … [1] 33 When was the first performance of the overture? 1813 1842 1862 1883 [1] * 0019655424214 * ,

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15 0410/13/M/J/24 © UCLES 2024 Music D4 Look at the skeleton score, which you will find in the separate insert, and read through questions 34 to 36. 34 (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] 35 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] 36 Name the key and cadence in bars 30–31. Key: … Cadence: … [2] * 0019655424215 * ,

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16 0410/13/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. BLANK PAGE * 0019655424216 * ,

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This document consists of 6 printed pages. © Cambridge University Press & Assessment 2024 [Turn over Cambridge IGCSE™ MUSIC 0410/13 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.

0410/13 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.

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2024 © Cambridge University Press & Assessment 2024 Page 3 of 6 Question Answer Marks 1 Soprano 1 2 Allegro (assai)/vivace/presto 1 3 It is slower [1], in a major key [1], there is a change in metre (from 3/4 to 6/8) [1], it is quieter [1] and more conjunct/legato/smooth [1], in a slightly lower tessitura [1]. Ref. to sense of dialogue between soloist and orchestra [1]. 3 4(a) Classical 1 4(b) Small (accept string dominated) orchestra [1] diatonic [1], homophonic [1] regular/balanced phrases [1] 2 5(a) They have (exactly) the same rhythm/are homorhythmic/play in thirds/sixths 1 5(b) 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 6(a) Key: B flat (major) Cadence: Perfect 2 6(b) Relative major 1 7(a) Minuet 1 7(b) Triple time / moderate tempo/regular phrase lengths 1 8 There is a drone (on a tambura/sruti box) [1] and occasional (descending/ascending) scale(s) (on the swarmandal) [1] 2 9(a) Tabla 1 9(b) It is more metered/not free tempo [1] It is faster [1]. There are shorter note values [1]. It stays in the higher end of the pitch range [1]. Melodic phrases are repeated [1] 2 10 India 1 11(a) 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]. 2 11(b) Balafon/silimba (accept marimba, xylophone) 1 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

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2024 © Cambridge University Press & Assessment 2024 Page 4 of 6 Question Answer Marks 14 There is a (large) percussion section/bateria [1] playing ostinato/repeated rhythms [1]. It is in 2/4 metre [1], is (strongly) syncopated [1] and at a fast/energetic tempo [1]. It has a dense texture [1], is polyrhythmic [1] and there is a continuous semiquaver pattern (played by the pandeiro/ganza/repinique) [1]. 4 15 It is the bridge section/break/paradinha/little stop [1]. The main samba groove stops [1] and there are call and response phrases [1]. The lead repinique plays the calls [1] and the bateria/rest of the ensemble responds in unison [1]. The responses are not always the same as the call [1]. There is a wide variety of rhythms used [1]. Maximum of two marks for description. 3 16 Samba is performed in the pre-Lenten street Carnival celebrations which culminates in the three days preceding Ash Wednesday. Sambistas dance through the streets followed by batteries of deafening percussion. Samba schools compete for prizes based on their music performance, dance choreography and costumes. Each school’s performance is centred around a specific theme, typically one that promotes Brazilian identity and revolves around national, historical or political figures and events. By the mid-1920s there were recordings of samba and it was also played on radio stations. A clear understanding [3]. Several correct points [2]. One or two relevant points [1] 3 17 Staccato (accept pizzicato/plucked) 1 18 Andantino/Andante/Moderato 1 19 (Ascending) sequence 1 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 21 Perfect [1] fourth [1] (mark for perfect only if fourth is correct) 2

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2024 © Cambridge University Press & Assessment 2024 Page 5 of 6 Question Answer Marks 22 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 23(a) 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 23(b) Prokofiev 1 24(a) It has the same rhythm/three quavers plus a longer note [1] The three quavers are all on the same note [1] but the interval is extended (from a (minor) third to a (perfect) fifth) [1] and the third bar has a minim rather than three repeated quavers/the motif is extended for a further two notes/bars [1]. It is played by the horns instead of the strings [1]. (It is in) E flat major [1] 2 24(b) It is piano/quiet [1], legato/dolce [1], entirely in crotchets [1] and mostly conjunct [1] accept higher [1]. 2 25 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 26 Codetta 1 27 One mark per note 2 28(a) Key: A flat minor Cadence: Imperfect 2 28(b) Tonic minor 1 29 The anacrusis is inverted [1], it is tutti/full orchestra [1], ff [1], the violins play the theme/in octaves [1] and the woodwind (flute, clarinet and bassoon) imitate/repeat/a bar later [1]. There are fast note/repeated/demisemiquavers in the lower strings (violas, cellos and basses) [1]. It is in A flat major / the tonic [1]. 3

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2024 © Cambridge University Press & Assessment 2024 Page 6 of 6 Question Answer Marks 30 One mark per note 2 31(a) Agitated, though always still rather broad 1 32(b) Transition 1 32(c) To modulate (to the second subject) 1 32(a) (Walther’s) love 1 32(b) E (major) 1 33 1862 1 34(a) Mastersingers’ march 1 34(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 35 Dominant pedal [1] Trills [1] 2 36 C (major) [1] Plagal [1] 2