Cambridge IGCSE Music 0410 — 2025 May/June Paper 1 · Variant 1

This document has 16 pages. Any blank pages are indicated. [Turn over Cambridge IGCSE™ DC (CE) 346118/1 © UCLES 2025 * 5 0 5 4 7 7 1 3 3 3 * MUSIC 0410/11 Paper 1 Listening May/June 2025 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 [ ]. ,










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2 0410/11/M/J/25 © UCLES 2025 SECTION A [16 marks] You will hear two examples of music, selected from the Baroque, Classical or Romantic periods or since 1900. 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 printed below. Read through Questions 1 to 4. 1 To wander alone when the moon faintly beaming 2 With glimmering lustre darts through the dark shade 3 Where owls seek for covert, and night-birds’ complaining 4 Adds sound to the horror that darkens the glade, 5 Adds sound to the horror that darkens the glade, that darkens, that darkens the glade. 1 (a) How many beats are there in each bar? … [1] (b) Suggest a suitable Italian tempo marking. … [1] 2 Describe the piano accompaniment in lines 1 and 2. … … … [2] 3 What musical features suggest darkness and horror in lines 3 and 4? … … … … [3] 4 Identify a feature of the music that shows it was written in the Classical period. … … [1] * 0000800000002 * ,










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4 0410/11/M/J/25 © UCLES 2025 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 c & bbb & bbb Extract continues ... œ œ™œn 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 5 (a) What is the key of the printed melody? … [1] (b) How is the printed melody performed? by clarinet and oboe in unison by first and second violins in octaves by flute and oboe in octaves by violas and cellos in unison [1] 6 Describe the accompaniment in bars 1–6. … … … [2] 7 Describe the music which follows the printed passage, explaining how it is different from bars 1–8. … … … … [3] * 0000800000004 * ,










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5 0410/11/M/J/25 © UCLES 2025 [Turn over 8 Who composed this music? Debussy Haydn Tchaikovsky Vivaldi [1] * 0000800000005 * ,










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6 0410/11/M/J/25 © UCLES 2025 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 9 to 11. 9 Name the tuned instrument heard at the start of the extract. … [1] 10 Describe the music of the extract. … … … … … [4] 11 Where does this music come from? … [1] * 0000800000006 * ,










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7 0410/11/M/J/25 © UCLES 2025 [Turn over Music B2 You will hear an extract for instruments. Look at the skeleton score and read through Questions 12 to 14. 24 & # & # & # Extract continues ... œ œ ‰ œJ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œJ œ™œJ œ œ œ ‰ œj œ œ œ ‰ œJ œ œ œj œ œj œ œ œ œJ œ œj œ œ œ œ œ œ œj œ œj œ œ œ œ œ œ œj œ œj œ œ œ œJ œ œj œ œ œ œ œ œ œj œ œj 12 How is the printed melody accompanied? … … … [2] 13 How is the music which follows the printed passage different? … … … [2] 14 (a) Where does this music come from? … [1] (b) Give a reason for your answer. Do not repeat any information already given in your answers. … … [1] * 0000800000007 * ,










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8 0410/11/M/J/25 © UCLES 2025 Music B3 (World Focus: Chinese music) You will hear three passages from a piece of Jiangnan sizhu music, separated by short gaps. The music of the first passage is printed. Look at the skeleton score and read through Questions 15 to 17. First passage: & ## & ## ¿ Œ ¿ Œ ˙ œ™ œJ œ™ œJ œ™ œJ ˙™ Œ œ™ œJ œ œ œ œ™œ œ œ œ œ œ œ™ œJ œ œ œ œ œ œ œ Œ 15 (a) Identify and comment on the scale that is used for the melody in the first passage. … … … [2] (b) Describe the texture of the music in this passage. … … … [2] 16 What other features of all three passages are typical of Jiangnan Sizhu music? Do not repeat any information already given in your answers. … … … … … [4] 17 Briefly describe the context in which Jiangnan Sizhu music is typically performed. … … … [2] * 0000800000008 * ,










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10 0410/11/M/J/25 © UCLES 2025 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 23. Answer the questions in this booklet. 18 Name the bracketed interval in bar 5. … … [2] 19 Compare the music of bars 9–14 with bars 1–6, noting similarities and differences. … … … … [3] 20 The melody is incomplete in bars 22–23. Fill in the missing notes on the stave below. The rhythm has been given to help you. [3] 21 After bar 36, the extract continues with a new melody. Describe three ways in which the music in this new section contrasts with bars 29–36. … … … … [3] * 0000800000010 * ,










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11 0410/11/M/J/25 © UCLES 2025 [Turn over 22 (a) Which of the following best describes this extract? March Minuet Oratorio Waltz [1] (b) Give a reason for your answer. … … [1] 23 (a) When was this music written? Baroque Classical Romantic Since 1900 [1] (b) Give reasons for your answer. … … … [2] * 0000800000011 * ,









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12 0410/11/M/J/25 © UCLES 2025 SECTION D [16 marks] Set Work Answer all the questions on one set work: either Beethoven: Symphony No. 5 (Questions 24 to 30) or Haydn: Trumpet Concerto (Questions 31 to 37). 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 is this extract taken from? … [1] (b) How does the key of this section relate to the key of the movement as a whole? … [1] 25 Explain Beethoven’s use of melodic material in the extract, including references to which instruments are playing. … … … … … [4] 26 On the stave below, write the bracketed notes of the viola part in bars 11–12 in the treble clef. [2] & * 0000800000012 * ,









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13 0410/11/M/J/25 © UCLES 2025 [Turn over Music D2 Look at the skeleton score, which you will find in the separate insert, and read through Questions 27 to 30. 27 What features of the music in bars 1–21 contribute to a march-like feel? … … … … [3] 28 (a) Give the precise name of the part of the exposition heard from bar 26. … [1] (b) Describe one way in which this contrasts with the music at the start of the extract. … … [1] 29 (a) What section of the exposition begins at bar 34? … [1] (b) What is the purpose of this section? … … [1] 30 In which year did the first performance of this symphony take place? 1770 1792 1808 1827 [1] * 0000800000013 * ,









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14 0410/11/M/J/25 © UCLES 2025 Haydn: Trumpet Concerto 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 31 to 33. 31 Explain precisely what is played in bars 42–51. … … … [2] 32 (a) What section of the solo exposition begins in bar 24? … [1] (b) What key is it in? … [1] (c) What is the relationship of this key to the tonic key of the movement? … [1] 33 (a) What was different about the construction of the trumpet Haydn wrote this concerto for, compared with other trumpets at this time? … … [1] (b) Explain why the solo part in bars 1–12 could only be played on this new trumpet. … … … [2] * 0000800000014 * ,









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15 0410/11/M/J/25 © UCLES 2025 Music D4 Look at the skeleton score, which you will find in the separate insert, and read through Questions 34 to 37. 34 What do the violas play in bars 1–8? Alberti bass Dominant pedal Main melody Tonic pedal [1] 35 (a) What section of the orchestral exposition starts in bar 27? … [1] (b) Explain how the motif from bar 27 is used in bars 29–38. … … … … [3] 36 On the stave below, write the two bracketed notes of the trumpet part in bar 67 at sounding pitch. The key signature has been given. [2] & bbb 37 Which trumpeter was this concerto written for? … [1] * 0000800000015 * ,









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16 0410/11/M/J/25 © UCLES 2025 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 7 printed pages. © Cambridge University Press & Assessment 2025 [Turn over Cambridge IGCSE™ MUSIC 0410/11 Paper 1 Listening May/June 2025 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 2025 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 May/June 2025 © Cambridge University Press & Assessment 2025 Page 2 of 7 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 2025 © Cambridge University Press & Assessment 2025 Page 3 of 7 Annotations guidance for centres Examiners use a system of annotations as a shorthand for communicating their marking decisions to one another. Examiners are trained during the standardisation process on how and when to use annotations. The purpose of annotations is to inform the standardisation and monitoring processes and guide the supervising examiners when they are checking the work of examiners within their team. The meaning of annotations and how they are used is specific to each component and is understood by all examiners who mark the component. We publish annotations in our mark schemes to help centres understand the annotations they may see on copies of scripts. Note that there may not be a direct correlation between the number of annotations on a script and the mark awarded. Similarly, the use of an annotation may not be an indication of the quality of the response. The annotations listed below were available to examiners marking this component in this series. Annotations Annotation Meaning Omission Benefit of the doubt Incorrect point No benefit of doubt given Used to show that blank pages have been seen and any creditworthy material has been awarded Indicates a correct statement has been noted, but it depends on the total marks available in the mark scheme whether credit has been given Too vague

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2025 © Cambridge University Press & Assessment 2025 Page 4 of 7 Question Answer Marks 1(a) 3 1 1(b) Adagio / lento / largo / grave 1 2 The RH doubles the voice [1] an octave higher [1] with some ornamentation / turns The LH plays a walking bass line (accept any description) [1] in quavers / shorter notes [1]. 2 3 Minor key [1], diminished (seventh)/German sixth chords (accept dissonance) [1], louder dynamic/crescendo [1], chromaticism / moving in semitones [1], rising in pitch [1], fast piano repetitions of chords/semiquavers [1], pauses [1], lower piano part [1]. 3 4 Regular/balanced/periodic phrasing / homophonic texture 1 5(a) C minor 1 5(b) By clarinet and oboe in unison 1 6 There are short / detached (accept staccato) chords [1] played on each beat / in crotchets [1] (and an answering motif after four bars [1]). 2 7 The melody is played by violins / strings / not wind [1], and it is more flowing / legato [1]. There is a modulation to a major key [1] but then it immediately returns to the minor [1]. It is louder / the texture is fuller / more instruments play / the melody is doubled in octaves [1]. The accompaniment plays on each quaver beat (accept plays on the off-beat / is twice as fast etc) [1]. There is a short trumpet interjection (accept any description) every two bars [1]. 3 8 Tchaikovsky 1 9 Balafon/xylophone 1 10 There is call and response [1] between the instruments and the voices [1]. The voices sing in unison [1] and the instrumental and vocal phrases are mostly the same [1]. The music is pentatonic [1] with use of ostinato/repetition [1] and significant dynamic contrasts [1]. There are hand claps (on the beat) during the instrumental sections [1] and some instruments play quietly/double the melody during the vocal sections [1]. Accept 2/4, 4/4 [1] 4 11 Africa 1 12 Charangos [1] play strummed / chords and a (bombo) drum is played on each beat [1]. 2 13 The melody instrument changes (to flutes) [1] and the melody is doubled in thirds [1]. The melody is much higher [1] and more legato [1]. The chords change more quickly / the harmonic rhythm is faster [1]. 2 14(a) Latin America / Peru / Andes 1 14(b) Panpipes [1]. Syncopated melody [1]. Fast tempo / lively music [1]. If not already stated: charangos [1] / melody doubled in thirds [1]. 1

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2025 © Cambridge University Press & Assessment 2025 Page 5 of 7 Question Answer Marks 15(a) It is pentatonic [1] but makes use of passing /leading notes / tones (so there are six different pitches) [1]. 2 15(b) It is heterophonic [1]. The instruments play in octaves [1] with individual decoration / tremolo etc [1]. 2 16 The tempo increases with each passage [1] and the music is more complex / virtuosic [1] but the ending is in free time [1]. The music is in 4/4 / quadruple time [1] but the final section is in 2/4 metre [1]. The use of the ban (wooden clapper) to keep the beat [1]. A mix of string and wind instruments [1]. Melody played by dizi / dizi is the leading instrument in the ensemble [1]. 4 17 The music is performed by amateur musicians (who play for recreation) [1]. Groups meet in tea-houses (and/or community centres) [1]. Members take it in turns to play / only one instrument is played at once [1]. (Other patrons may listen to the music or may simply ignore the group [1]) 2 18 Minor [1] sixth [1] (mark for minor only if sixth is correct) 2 19 In bars 9 – 14: The horns/timpani don’t play / only the strings (and continuo) play / there are fewer instruments / it is quieter [1] It is in the dominant / (a fourth) lower [1] It has the same melody/rhythm [1] 3 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 The texture is thinner / (initially) there are only two parts / only the violins play / there are no bass instruments [1]. The melody is freely decorated / ornamented (on the repeat) [1]. The melody is much lower in pitch [1] and generally descends [1]. It is in the (tonic) minor [1]. 3 22(a) Minuet 1 22(b) Triple time [1], moderately fast [1], contrasting trio section [1] 1 23(a) Baroque 1 23(b) (Basso) continuo/harpsichord [1], terraced dynamics [1], hemiola [1], ornamentation [1]. 2 24(a) Trio 1

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2025 © Cambridge University Press & Assessment 2025 Page 6 of 7 Question Answer Marks 24(b) Tonic major 1 25 It is fugal style [1]. The theme is announced by cellos/basses [1]. The violas/bassoons imitate [1] in the dominant [1]. The 2nd violins are next [1] on C/in the tonic/as the cellos and basses [1], followed more swiftly/in the manner of stretto [1] by the 1st violins. The imitation by the violins is shortened [1]. 4 26 One mark per note 2 27 ff dynamic [1], dotted rhythms [1], strong presence of brass/trumpets/horns/trombones [1], quadruple time signature [1], strong tonic and dominant harmonies [1], opening rising triad/like a fanfare [1], short/clipped notes/separated by rests [1]. 3 28(a) 1st subject 2nd theme 1 28(b) Reduced orchestration/played by horns and wind [1] Generally longer note values / more sustained/legato [1] Reference to the nature of the accompaniment [1], e.g. prominent quaver arpeggio underneath the tied semibreves rather than the basically homorhythmic opening. 1 29(a) Transition 1 29(b) To modulate 1 30 1808 1 31 The wind / flutes imitate / repeat the music / melody from the previous bar [1] an octave higher [1]. 2 32(a) Second subject 1 32(b) B flat (major) 1 32(c) Dominant 1 33(a) It had keys 1 33(b) It uses stepwise [1] and chromatic [1] movement, which would not have been possible (in this register) on a natural trumpet which only had access to the notes of the harmonic series [1]. 2 34 Tonic pedal 1 35(a) Second subject 1

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2025 © Cambridge University Press & Assessment 2025 Page 7 of 7 Question Answer Marks 35(b) It is repeated twice [1] (the third playing is piano [1]); then it is played in diminution [1] starting on different pitches [1] for three bars; this is then repeated [1]. 3 36 One mark per note 2 37 (Anton) Weidinger 1