Cambridge IGCSE Music 0410 — 2024 Oct/Nov Paper 1 · Variant 1

This document has 16 pages. Any blank pages are indicated. [Turn over Cambridge IGCSE™ MUSIC 0410/11 Paper 1 Listening October/November 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 5 7 9 5 6 6 6 6 9 * DC (LK) 337649/2 © UCLES 2024 ,










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2 0410/11/O/N/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 piano. The words are in French. Read through questions 1 to 4. The structure of the extract is: Instrumental introduction Verse 1 Instrumental interlude Verse 2 1 Name a compositional device heard in the voice part at the start of verse 1. … [1] 2 What type of voice is heard? … [1] 3 Describe the ways in which the music of verse 2 contrasts with verse 1. … … … … [3] 4 Identify three features of the extract that suggest that it is a waltz. … … … … [3] * 0000800000002 * ,










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3 0410/11/O/N/24 © UCLES 2024 [Turn over Music A2 You will hear an extract for instruments. Read through questions 5 to 7. 5 Which of the following best describes the shape of the opening melody (after the introduction)? A descending leap and then movement mostly by leap A descending leap and then movement mostly by step An ascending leap and then movement mostly by leap An ascending leap and then movement mostly by step [1] 6 (a) Which of the following best describes this extract? March Minuet Sonata Theme and variations [1] (b) Give three reasons for your answer. … … … … [3] 7 (a) What style is this music? Impressionism Jazz Minimalism Neoclassicism [1] (b) Give two reasons for your answer. … … … [2] * 0000800000003 * ,










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4 0410/11/O/N/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 Name the instrument in the first half of the extract. … [1] 9 How does the music change in the second half of the extract? … … … [2] 10 (a) Where does this music come from? … [1] (b) Give reasons for your answer. … … … [2] * 0000800000004 * ,










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5 0410/11/O/N/24 © UCLES 2024 [Turn over Music B2 You will hear an extract for instruments. Read through questions 11 to 13. 11 Name the first instrument heard. … [1] 12 Describe the music in the second part of the extract. … … … … … [4] 13 Where does this music come from? … [1] * 0000800000005 * ,










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6 0410/11/O/N/24 © UCLES 2024 Music B3 (World Focus: Latin American Music) You will hear two passages from a piece of samba music, separated by a short gap. Read through questions 14 to 15. 14 (a) First passage: what is the name for the group of percussion instruments which plays at the beginning of the extract? … [1] (b) What string instrument accompanies the voices? … [1] (c) What other features of the first passage are typical of samba music? … … … … [3] 15 (a) Second passage: what is the name of this section? … [1] (b) Name and describe the solo instrument in this section. … … … [2] (c) Explain what happens in this section. … … … [2] * 0000800000006 * ,










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8 0410/11/O/N/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 an extract for instruments. Look at the skeleton score, which you will find in the separate insert, and read through questions 16 to 23. Answer the questions in this booklet. 16 What type of ensemble is heard in this extract? … [1] 17 Add articulation markings to the music printed below, to show how the opening phrase is performed. [2] 18 The melody is incomplete in bars 16–18. Fill in the missing notes on the stave below. The rhythm has been given to help you. [3] 19 Name the bracketed interval in bar 23. … … [2] 20 Describe in detail the texture of the music in bars 55–60. … … … [2] * 0000800000008 * ,










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9 0410/11/O/N/24 © UCLES 2024 [Turn over 21 (a) Name the key and cadence in bars 73–74. Key: … Cadence: … [2] (b) What is the relationship of this key to the tonic key of the Minuet? … [1] 22 How is this extract typical of a Minuet and Trio? … … [1] 23 (a) When was this music written? Baroque Classical Romantic Twentieth Century [1] (b) Who composed it? Bach Chopin Debussy Haydn [1] * 0000800000009 * ,










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10 0410/11/O/N/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 31) or Wagner: The Mastersingers of Nuremberg, Overture (questions 32 to 38). 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) What section of the movement begins at the start of the extract? … [1] (b) Compare how Beethoven presents the motif in bars 1–4 with when it was first heard at the beginning of the movement (before the recorded extract). Do not refer to instruments in your answer. … … … [2] 25 How does Beethoven build towards a climax from bar 34? … … … … [3] 26 (a) From where in the exposition is the music in bars 55–58 first heard? … [1] (b) What instrument originally played it? … [1] * 0000800000010 * ,










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11 0410/11/O/N/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 31. 27 What is the tempo marking of this movement? … [1] 28 Describe the music of bars 03–41 and explain the function of these bars. … … … [2] 29 On the stave below, write the last two clarinet notes in bar 5 at sounding pitch. The key signature has been given. [2] 30 Comment on Beethoven’s use of the sections of instruments from bar 9 to the end of the extract. … … … [2] 31 Precisely name the form of this movement. … [1] * 0000800000011 * ,









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12 0410/11/O/N/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 32 to 35. 32 What do the bass instruments play in bars 8–13? Ascending scale Descending scale Dominant pedal Tonic pedal [1] 33 Compare the music of bars 14–17 with the beginning of the extract, commenting on differences in how the theme is presented. … … … [2] 34 How does Wagner’s music in bars 1–26 emphasise the importance of the Mastersingers? … … … … [3] 35 (a) What does the leitmotif which is heard in bars 27–28 represent? … [1] (b) What instrument repeats this leitmotif immediately after the recorded extract? … [1] * 0000800000012 * ,









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13 0410/11/O/N/24 © UCLES 2024 Music D4 Look at the skeleton score, which you will find in the separate insert, and read through questions 36 to 38. 36 Briefly explain the texture of the music during bars 1–8. … … … [2] 37 On the stave below, write the last two notes of the clarinet part in bar 12 at sounding pitch. [2] 38 (a) What does the theme which is played by the bass instruments in bars 16–20 represent? … [1] (b) This theme is played twice more as the extract continues. Comment on any changes to the theme and its accompaniment during these repetitions. … … … … [3] * 0000800000013 * ,









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16 0410/11/O/N/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 * 0000800000016 * ,









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This document consists of 6 printed pages. © Cambridge University Press & Assessment 2024 [Turn over Cambridge IGCSE™ MUSIC 0410/11 Paper 1 Listening October/November 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 October/November 2024 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 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 October/November 2024 © Cambridge University Press & Assessment 2024 Page 3 of 6 Question Answer Marks 1 Repetition/(descending) sequence 1 2 Soprano 1 3 It is (slightly) slower [1] and quieter [1]. It begins in a different key [1] and modulates to a minor key [1]. The vocal part is more melismatic [1] and has a wider range/goes higher/has more leaps [1]. There is more chromaticism [1]. 3 4 Three beats in a bar [1], (relatively) fast tempo/one in a bar feel [1], one chord per bar [1], mix of legato and staccato articulation [1], um-cha-cha accompaniment / accented first beat [1]. 3 5 An ascending leap and then movement mostly by leap 1 6(a) March 1 6(b) Four beats in a bar [1], prominent brass/percussion [1], snare/side drum introduction [1], triadic melodies/fanfare [1], dotted rhythms [1], steady beat/tempo [1], at marching tempo [1]. 3 7(a) Jazz 1 7(b) Use of the blues scale [1], trumpets/saxes [1] and a rhythm section/double bass [1]. There is a walking bass [1], an improvised/solo section [1], swung rhythms [1] and slides/falls [1]. 2 8 Oud 1 9 More instruments join [1], the texture becomes heterophonic [1] and the tempo becomes more metrical/regular [1]. It sounds less improvised [1]. 2 10(a) Arab tradition (accept any appropriate country) 1 10(b) Heterophonic texture [1], use of quarter tones [1], ornamentation/decoration/tremolo [1] and short phrases [1] with a narrow range [1]. 2 11 Dizi 1 12 It is metered [1], many instruments play [1] in octaves [1] with a bass line [1]. There are balanced/question and answer phrases [1] and more instruments/the dizi join in for the answering phrases [1]. The first and third /question phrases are the same [1]. It uses the pentatonic scale [1] and is in a quadruple metre [1]. 4 13 China 1 14(a) Bateria 1 14(b) Cavaquinho 1 14(c) Ostinato rhythms [1] creating a polyrhythmic texture [1]. Fast (tempo) [1]. 8 bar phrases [1]. 2/4 time [1]. Catchy melody [1]. Syncopation [1]. Singing in unison/octaves [1]. Constant semiquavers [1]. 3

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2024 © Cambridge University Press & Assessment 2024 Page 4 of 6 Question Answer Marks 15(a) Paradinha (accept percussion break) 1 15(b) It is a repinique [1]. It is a two-headed drum [1], which is tuned to a very high pitch [1]. It is played with one wooden stick and one hand [1]. 2 15(c) It is a call and response [1] section. The bateria responses are in unison [1] but are not the same as the call [1]. 2 16 String quartet 1 17 Most elements correct = 2 Some elements correct = 1 2 18 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 19 Minor [1] third [1] (third must be correct to get the mark for minor) 2 20 55–57: the melody is accompanied by sustained chords/one chord per bar/pedal note [1] NOT melody and accompaniment/homophonic 58–60: the melody is played in octaves (accept unison/monophonic) [1] 2 21a) G minor [1]. Perfect [1]. 2 21(b) Tonic minor [1] 1 22 3/4/triple time/moderately fast tempo/ternary/ABA structure/contrasting middle section/middle section in different key/return of opening theme/Da Capo 1 23(a) Classical 1 23(b) Haydn 1 24(a) Development 1 24(b) The opening motif is a third higher [1]. There then follows a version of the motif with a descending minor second/semitone [1]. 2

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2024 © Cambridge University Press & Assessment 2024 Page 5 of 6 Question Answer Marks 25 There is use of a short motif [1], in imitation between wind and strings [1] as an ascending sequence [1]. There are diminished seventh chords [1] which move up [1] in semitones [1] with a crescendo/piu f/to ff [1]. 3 26(a) 2nd subject 1 26(b) Horns 1 27 Andante con moto 1 28 It is the introduction (to Theme B Variation 2) [1]. It is a dominant seventh [1]. There are pp/string/quavers (on beats 3 and 1) [1]. 2 29 One mark per note 2 30 There are (11) bars with just woodwind (from bar 9) [1]. (From bar 243) it is full orchestra/tutti [1]. 2 31 Double variation (with coda) 1 32 Dominant pedal 1 33 Initially it is in F major [1]. Bar 15 reverses the rhythm of the bar 2 melody (i.e. quavers then minim, rather than minim then quavers) [1]. It is played as an ascending sequence in bar 16 [1] in imitation [1] with the bass instruments [1]. In bar 17 the minim is replaced by an ascending sequence of the four quaver pattern [1]. 2 34 C major [1]. Relatively long note values [1]. Dotted rhythm [1] Distinctive descending fourth [1]. Tutti orchestration/brass play melody [1] 3 35(a) Walter’s wooing 1 35(b) Oboe 1 36 Three themes are combined [1]: in addition to the printed love theme, bass instruments play the Mastersingers’ theme [1] and other instruments play the Mastersingers’ march in diminution [1]. This creates a contrapuntal/polyphonic texture [1]. 2 37 One mark per note 2 38(a) The Guild (of Mastersingers) 1

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2024 © Cambridge University Press & Assessment 2024 Page 6 of 6 Question Answer Marks 38(b) On the first repetition/second playing the Apprentice Mastersingers’ theme is added in the accompaniment [1] which makes the texture seem busier/fuller [1]. On the second repetition/third playing the theme is extended [1] with an ascending sequence [1] and it is played very loudly/ff [1]. 3