Cambridge IGCSE Music 0410 — 2024 Oct/Nov Paper 1 · Variant 2

This document has 16 pages. Any blank pages are indicated. [Turn over Cambridge IGCSE™ MUSIC 0410/12 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 [ ]. * 3 0 9 3 4 3 3 5 6 9 * DC (CJ) 337025/2 © UCLES 2024 ,










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2 0410/12/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 voices and instruments. The words are printed below. Read through questions 1 to 4. 1 From this moment on, 2 You for me dear, 3 Only two for tea dear, 4 From this moment on. 5 From this happy day, 6 No more blue songs, 7 Only whoop-de-doo songs, 8 From this moment on. 9 For you’ve got the love I need so much, 10 Got the skin I love to touch, 11 Got the arms to hold me tight, 12 Got the sweet lips to kiss me goodnight. 13 From this moment on, 14 You and I babe, 15 We’ll be riding high babe, 16 Every care is gone, 17 From this moment on. 1 How many beats are there in each bar? … [1] 2 Which of the following best describes the structure of the vocal sections? AABA AABB ABBC ABCB [1] * 0000800000002 * ,










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3 0410/12/O/N/24 © UCLES 2024 [Turn over 3 Compare the music of lines 9–12 with lines 5–8, describing the main differences. … … … … [3] 4 (a) What type of piece is this? Chorus Musical Oratorio Waltz [1] (b) Give two reasons for your answer (but do not refer to the lyrics). … … … [2] * 0000800000003 * ,










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4 0410/12/O/N/24 © UCLES 2024 Music A2 You will hear an extract for instruments. Look at the skeleton score and read through questions 5 to 8. 1 2 3 4 5 6 7 8 44 & # & # Extract continues... ˙ œ™ œj ˙™ œ œ ˙ œ™ œj ˙ Œ œ™œ ˙ œ™ œ#J œ œ œ œ# œ œ œ œ œ œ ˙ ˙ ˙ Ó 5 What instrument plays the printed melody? … [1] 6 Describe similarities and differences between the printed music and the eight-bar passage which follows. … … … … [3] 7 What type of piece is this? Concerto March Sonata Symphony [1] * 0000800000004 * ,










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5 0410/12/O/N/24 © UCLES 2024 [Turn over 8 (a) When was this music written? Baroque Classical Romantic Twentieth Century [1] (b) Give reasons for your answer. … … … [2] * 0000800000005 * ,










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6 0410/12/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. There is a long introduction before a new instrument joins, playing the printed melody. Look at the skeleton score and read through questions 9 to 11. & bb Introduction & bb Extract continues... ˙ œ œ œ œ ˙ œ œ œ œ œ™ œ J ˙ ˙™ Œ 9 Describe the music of the introduction. … … … … [3] 10 (a) What instrument plays the printed melody? … [1] (b) Which scale is the melody based on? B flat major D major Pentatonic Whole tone [1] 11 Where does this music come from? … [1] * 0000800000006 * ,










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7 0410/12/O/N/24 © UCLES 2024 [Turn over Music B2 You will hear an extract for instruments. Read through questions 12 to 14. 12 (a) Name the instrument in the first half of the extract. … [1] (b) How is the sound produced on this instrument? … [1] 13 Compare the two halves of the extract. … … … … [3] 14 Where does this music come from? … [1] * 0000800000007 * ,










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8 0410/12/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 15 to 17. 15 (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) Explain what other features of the first passage are typical of samba music. … … … … [3] 16 (a) Second passage: what is the name of this section? … [1] (b) Explain what happens in this section. … … … [2] 17 Describe the context in which samba is typically performed. … … … [2] * 0000800000008 * ,










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10 0410/12/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 18 to 25. Answer the questions in this booklet. 18 What type of ensemble is heard in this extract? … [1] 19 Name the bracketed interval in bar 7. … … [2] 20 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] 21 What compositional device is heard in bars 30–31? … [1] 22 Describe in detail the texture of the music in bars 55–60. … … … [2] * 0000800000010 * ,










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11 0410/12/O/N/24 © UCLES 2024 [Turn over 23 (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] 24 What features of this extract are typical of a Minuet and Trio? … … … … [3] 25 Who composed it? Bach Chopin Debussy Haydn [1] * 0000800000011 * ,









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12 0410/12/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 26 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 26 to 28. 26 (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] 27 How does Beethoven build towards a climax from bar 34? … … … … [3] 28 (a) From where in the exposition is the music in bars 55–58 first heard? … [1] (b) What instrument originally played it? … [1] * 0000800000012 * ,









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13 0410/12/ 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 29 to 31. 29 (a) Describe in detail the music in bars 1–8, paying particular attention to the harmony. … … … [2] (b) What is the purpose of these bars? … [1] 30 On the stave below, write the first two notes in the viola part in bar 12 in the treble clef. [2] 31 Explain how the presentation of the theme in bars 93–171 has changed from when it was first heard in the movement (before the recorded extract). … … … … [3] * 0000800000013 * ,









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14 0410/12/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] * 0000800000014 * ,









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15 0410/12/ 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 On the stave below, write the last two notes of the clarinet part in bar 1 at sounding pitch. [2] 37 Briefly explain the texture of the music during bars 1–8. … … … [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] * 0000800000015 * ,









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16 0410/12/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 0410/12 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.

0410/12 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.

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2024 © Cambridge University Press & Assessment 2024 Page 3 of 6 Question Answer Marks 1 2 or 4 1 2 AABA 1 3 In 9–12 each line mainly consists of a single repeated pitch [1] rather than the rising and falling shape in 5–8 [1]. Only the male soloist sings in 9–12 [1]. The melody is doubled / an octave higher in 5–8 but not in 9–12 [1]. It is quieter / thinner texture / fewer instruments [1]. 3 4(a) Musical 1 4(b) Allow [1] for a convincing understanding of orchestration – e.g. mixture of orchestral instruments with drum kit. Distinctive legato and unison string writing [1], jazz influence (e.g. clarinet / muted brass) in the instrumental section [1]. 32 bar song structure [1]. Rhythmic features such as syncopation [1]. 2 5 Clarinet 1 6 The opening of the melody is the same [1] but played an octave higher [1] by violins [1]. The accompaniment is much fuller / not off-beat chords [1]. The clarinet plays a rising scale [1] then a descending arpeggio [1] followed by a countermelody [1]. The clarinet part covers a wider range of notes [1]. 3 7 Concerto 1 8(a) Romantic 1 8(b) Virtuosic solo writing [1] covering a very wide register (for the clarinet) [1]. Lyrical / chromatic / legato melody lines [1]. A wide range of expressive dynamics [1]. Ref. to harmonic features such as diminished sevenths / Neapolitan chords [1]. 2 9 A plucked string instrument plays a rising pattern (accept arpeggio) followed by a two-note descending motif (accept it is a monophonic texture). This is repeated / echoed. A similar passage is played an octave higher. There is then a glissando passage, followed by a low tremolo note. Above which a two-note motif is played. A repeated more metrical / rhythmic pattern leads into the melody. A detailed answer covering many (but not necessarily all of the above points) [3] A number of features described but in less detail [2] One or two correct observations [1] 3 10(a) Shakuhachi 1 10(b) Pentatonic 1 11 Japan 1 12(a) Oud 1

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2024 © Cambridge University Press & Assessment 2024 Page 4 of 6 Question Answer Marks 12(b) It is plucked 1 13 The first half is a solo / more instruments join later [1]. It sounds improvised [1] and uses a repeated motif [1]. (The first half is in) fairly free time / (In the second half) the tempo becomes more metrical / regular [1]. The melody is played heterophonically [1]. 3 14 Arab tradition (accept any appropriate country) 1 15(a) Bateria 1 15(b) Cavaquinho 1 15(c) Ostinato rhythms [1] creating a polyrhythmic texture [1]. Fast tempo [1]. 8 bar phrases [1]. 2/4 (accept duple) time [1]. Catchy melody [1]. Syncopation [1]. Singing in unison / octaves [1]. Constant semiquavers [1] 3 16(a) Paradinha (accept percussion break) 1 16(b) It is a call and response [1] section. The repinique plays the call [1]. The bateria responses are in unison [1] but are not the same as the call [1]. 2 17 Samba is performed in Carnival celebrations, including a parade in which participating groups wear extravagant costumes to mark this celebration. Sambistas dance through the city 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. A good understanding of the context (which does not need to include of the detail above) [2] Some knowledge [1] 2 18 String quartet 1 19 Major [1] Third [1] (third must be correct to get the mark for major) 2 20 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 21 Repetition 1

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2024 © Cambridge University Press & Assessment 2024 Page 5 of 6 Question Answer Marks 22 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 23(a) G minor [1]. Perfect [1]. 2 23(b) Tonic minor 1 24 3/4 / triple time [1]. Moderate(ly fast) tempo [1]. ABA structure / contrasting middle section / middle section in different key / return of opening theme / Da Capo [1]. 3 25 Haydn 1 26(a) Development 1 26(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 27 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 28(a) 2nd subject 1 28(b) Horns 1 29(a) It is chromatic / there is a (descending) chromatic bass line [1] with many diminished seventh chords [1]. It ends on chord V in A flat major [1]. 2 29(b0 To bring the music back to the tonic. 1 30 One mark per note 2 31 It is a variation [1]. It takes the form of a double/has shorter note values/semiquavers are used [1]. There is added pizzicato/violin accompaniment [1] and added sustained (1st clarinet) notes [1]. The rest of the woodwind/oboes/2nd clarinet/bassoon join for the cadence [1]. 3 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

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2024 © Cambridge University Press & Assessment 2024 Page 6 of 6 Question Answer Marks 35(a) Walter’s wooing 1 35(b) Oboe 1 36 One mark per note 2 37 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 38(a) The Guild (of Mastersingers) 1 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