Cambridge IGCSE Music 0410 — 2024 Oct/Nov Paper 1 · Variant 3

This document has 16 pages. Any blank pages are indicated. [Turn over Cambridge IGCSE™ MUSIC 0410/13 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 [ ]. * 6 5 2 8 7 1 2 8 7 4 * DC (LK) 337020/1 © UCLES 2024 ,










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2 0410/13/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 What type of voice is heard? … [1] 2 Describe the ways in which the music of verse 2 contrasts with verse 1. … … … … [3] 3 Identify three features of the extract that suggest that it is a waltz. … … … … [3] * 0000800000002 * ,










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3 0410/13/O/N/24 © UCLES 2024 [Turn over 4 When was this music written? Baroque Classical Romantic Twentieth Century [1] * 0000800000003 * ,










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4 0410/13/O/N/24 © UCLES 2024 Music A2 You will hear an extract for instruments. Read through questions 5 to 8. 5 Name precisely the first instrument heard. … [1] 6 Which of the following best describes the shape of the opening melody? 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] 7 (a) Which of the following best describes this extract? March Minuet Sonata Theme and variations [1] (b) Give two reasons for your answer. … … … [2] 8 (a) What style is this music? Impressionism Jazz Minimalism Neoclassicism [1] (b) Give two reasons for your answer. … … … [2] * 0000800000004 * ,










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5 0410/13/O/N/24 © UCLES 2024 [Turn over 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 9 to 10. 9 (a) Describe the music in the first part of the extract. … … … … [3] (b) How does the music change for the second part of the extract? … … … [2] 10 Where does this music come from? … [1] * 0000800000005 * ,










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6 0410/13/O/N/24 © UCLES 2024 Music B2 You will hear an extract for instruments. Read through questions 11 to 13. 11 Describe in detail the texture of the music at the start of the extract. … … … … [3] 12 How does the music change during the extract? … … [1] 13 (a) Where does this music come from? … [1] (b) What is the name of this type of ensemble? … [1] * 0000800000006 * ,










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8 0410/13/O/N/24 © UCLES 2024 Music B3 (World Focus: Latin American Music) You will hear three short passages of choro music, separated by short gaps. Look at the skeleton scores and read through questions 14 to 16. The passages of music you will hear are: 1. Section A (including the start of the repeat) 2. The start of Section B 3. The start of Section C 14 (a) What instrument plays the printed melody? … [1] (b) How does the performer change the melody on the repeat? … … … [2] * 0000800000008 * ,










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9 0410/13/O/N/24 © UCLES 2024 [Turn over 15 (a) What features of the harmony and tonality in the extract as a whole are typical of choro? … … … [2] (b) What other features of the music are typical? … … … … [3] 16 (a) Describe a typical performance context for choro in the early days. … … [1] (b) How has this changed now? … … [1] * 0000800000009 * ,










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10 0410/13/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 17 to 22. Answer the questions in this booklet. 17 Name the bracketed interval in bar 3. … … [2] 18 The melody is incomplete in bars 7–8. Fill in the missing notes on the stave below. The rhythm has been given to help you. (The same melody is heard in bars 17–18, 45–46 and 55–56). [3] 19 How does the music in bars 23–28 contrast with bars 1–22? … … … [2] 20 (a) Name the key and cadence in bars 69–70. Key: … Cadence: … [2] (b) What is the relationship to the tonic key of the extract? … [1] * 0000800000010 * ,










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11 0410/13/O/N/24 © UCLES 2024 [Turn over 21 Bars 1–22 of the extract are section A. Identify the other sections in the printed extract with bar numbers. … … … [2] 22 (a) When was this music written? Baroque Classical Romantic Twentieth Century [1] (b) Give reasons for your answer. … … … [2] (c) Who composed it? Brahms Haydn Stravinsky Telemann [1] * 0000800000011 * ,









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12 0410/13/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 23 to 31) or Wagner: The Mastersingers of Nuremburg, 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 23 to 26. 23 Explain how the motif heard in bars 1–2 is used in bars 3–19. … … … … [3] 24 Name the cadence in bars 20–21. … [1] 25 (a) What part of the exposition is heard from bar 52? … [1] (b) What is the purpose of this music? … … [1] 26 (a) What part of the exposition is heard next (after the recorded music)? … [1] (b) What key is it in? … [1] * 0000800000012 * ,









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13 0410/13/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 Describe the music of bars 03–41 and explain the function of these bars. … … … [2] 28 On the stave below, write the two notes of the clarinet part in bar 4 at sounding pitch. The key signature has been given. [2] 29 Comment on Beethoven’s use of the sections of instruments from bar 9 to the end of the extract. … … … [2] 30 Precisely name the form of this movement. … [1] 31 What is the tempo marking of this movement? … [1] * 0000800000013 * ,









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14 0410/13/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 Comment on the orchestration of bars 1–63. … … … [2] 33 On the stave below, write the two notes of the clarinet part in bar 8 at sounding pitch. [2] 34 Describe the music of bars 104–143. … … … … [3] 35 Where did the first performance of the overture take place? Berlin Leipzig Salzburg Vienna [1] * 0000800000014 * ,









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15 0410/13/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 (a) Explain what is meant by the term ‘leitmotif’. … … [1] (b) What does the leitmotif which is heard at the beginning of the extract represent? … [1] 37 Describe the ways in which Wagner builds excitement in bars 12–19. … … … … [3] 38 (a) What does the theme which is heard in bar 20 represent? … [1] (b) How is this theme related to music heard earlier in the overture (before the recorded extract)? … … … [2] * 0000800000015 * ,









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16 0410/13/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 0410/13 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.

0410/13 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.

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2024 © Cambridge University Press & Assessment 2024 Page 3 of 6 Question Answer Marks 1 Soprano 1 2 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 3 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 4 Romantic 1 5 Snare/side drum 1 6 An ascending leap and then movement mostly by leap 1 7(a) March 1 7(b) Four (accept 2) beats in a bar [1], prominent brass/percussion [1], triadic melodies/fanfare [1], steady beat/tempo [1], at marching tempo [1]. 2 8(a) Jazz 1 8(b) Use of the blues scale/blue notes [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 9(a) It begins monophonically [1]/A dizi [1] plays trills (accept ornaments)/repeated motifs/long notes [1] in an unmetered/free rhythm [1] using the pentatonic scale [1], accompanied by long held chords/tremolo [1]. Occasionally (a hammered dulcimer) copies parts of the dizi’s previous phrase [1]. 3 9(b) It is metered [1], (many) more instruments play [1] in octaves [1] with a bass line [1]. More instruments/the dizi join in for the answering phrases [1]. 2 10 China 1 11 It is heterophonic [1], with the main/skeletal/nuclear melody (in the middle) [1] of the three-part texture [1]. Higher instruments play more notes/decorate the melody [1] and lower instruments play less frequently [1]. 3 12 More untuned instruments join in later / begin to play more frequently [1]. 1 13(a) Indonesia/Bali 1 13(b) Gamelan 1 14(a) Flute 1 14(b) There is different articulation (accept any valid description) [1], rhythms are occasionally changed [1] and it is embellished/ornamented (accept any valid description) [1]. 2

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2024 © Cambridge University Press & Assessment 2024 Page 4 of 6 Question Answer Marks 15(a) It is a key with just one flat [1], uses triadic harmonies [1], 7th (accept 9th) chords [1] and there is modulation to the relative major/F major [1] and tonic major/D major [1]. 2 15(b) It is in 2/4 metre [1], with underlying semiquavers [1], there are accompanying chords [1] on a cavaquinho [1] and a bassline [1] on a guitar [1]. 3 16(a) Amateur musicians/small cafes/bars/private homes 1 16(b) Concert halls/televised performances/recordings 1 17 Minor [1] third [1] (mark for minor only if third is correct) 2 18 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 19 Only the wind instruments play [1], it includes some imitative/polyphonic writing [1], it modulates [1] (allow [1] for naming a correct key). It is quieter [1], more legato [1] and more conjunct [1]. 2 20(a) Key: D minor Cadence: Perfect 2 20(b) Relative minor (minor not required if D minor in part (a) is correct) 1 21 B = bars 23–38 (A = bars 39–60) C = bars 61–80 Completely correct = 2 Some elements correct = 1 Nothing or very little correct = 0 2 22(a) Baroque 1 22(b) (Basso) continuo/harpsichord [1] Terraced dynamics [1] Natural horns [1] Ornamentation [1] Wind instruments are only oboes and bassoon [1] Suspensions [1] Sequences [1] Small orchestra [1] 2 22(c) Telemann 1

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2024 © Cambridge University Press & Assessment 2024 Page 5 of 6 Question Answer Marks 23 It is first heard as a descending sequence/a tone lower with the final note extended. Then it is heard in imitation in the upper strings. (From bar 14) it is modified to include stepwise movement, repeated three times, imitated and in inversion (by 2nd violins and violas). 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 24 Imperfect 1 25(a) Transition (accept bridge) 1 25(b) To modulate 1 26(a) 2nd subject 1 26(b) E flat (major)/relative major 1 27 It is the introduction [1] to Theme B Variation 2. It is a dominant seventh [1]. There are pp/string/quavers (on beats 3 and 1) [1]. 2 28 One mark per note 2 29 There are (11) bars with just woodwind (from bar 132) [1]. (From bar 243) it is full orchestra/tutti [1]. 2 30 Double variation (with coda) 1 31 Andante con moto 1 32 It is lightly scored [1] for (mostly) wind and strings [1] in contrast to the tutti passage which preceded it (before the recorded extract) [1]. The melodic solos are played by flute (and clarinet in octaves)/oboe [1]. There is a pedal note in bassoons/double basses [1]. Countermelodies in the horns/upper strings [1]. 2 33 One mark per note 2

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2024 © Cambridge University Press & Assessment 2024 Page 6 of 6 Question Answer Marks 34 It is based on the middle part of Walter’s wooing theme (accept ref. to bar 2) [1]. It rises rapidly in pitch/reaches a very high note [1] and then leads to a passage of descending/semiquaver/staccato scales [1] (do not give credit for scales alone) played in unison [1]. It is used as a transitional passage (leading to the Mastersingers’ March) [1]. (Allow max. [1] for ref. to increase in tempo/dynamics without any further accurate detail). 3 35 Leipzig 1 36(a) A short melodic motif which represents a character, location, object or theme in the story [1]. (accept any description which demonstrates understanding that the motif represents something). 1 36(b) Spring 1 37 Crescendo [1]. Increasing orchestration [1]. Rising pitch/ascending sequence [1]. Increase in tempo [1]. Repetition of the spring motif [1]. Dominant pedal [1]. 3 38(a) The apprentices 1 38(b) It is the Mastersingers’ Theme/beginning of the overture [1] played in diminution [1] (accept shorter note lengths but not faster). 2