Cambridge IGCSE Music 0410 — 2025 Oct/Nov Paper 1 · Variant 1

[Turn over Cambridge IGCSE™ * 2 3 1 6 7 9 6 9 6 6 * DC (WW) 346492/2 © UCLES 2025 This document has 16 pages. Any blank pages are indicated. MUSIC 0410/11 Paper 1 Listening October/November 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/O/N/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 voices and instruments. The words are printed below. Read through Questions 1 to 4. [Introduction] 1 Turn thee, youth, to joy and love; 2 Why, ah why this fond delay? 3 Turn thee, youth, to joy and love; 4 Why, ah why this fond delay? 5 Haste these blissful meads to rove; 6 Gentle youth, oh! haste away, oh! haste away. 7 Why, ah why this fond delay? 8 Gentle youth, oh! haste away. 9 Haste away, gentle youth, oh! haste away 10 [Choir] 11 [Choir] 12 Turn thee, youth, to joy and love; 13 Why, ah why this fond delay? 14 Haste these blissful meads to rove; 15 Turn to joy; 16 Turn to joy; 17 Turn to love; 18 Turn to love; 19 Why, ah why this fond delay? 20 Why, ah why this fond delay? 1 How many beats are there in each bar? … [1] 2 What type of voice sings in lines 1–6? … [1] * 0000800000002 * ,










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3 0410/11/O/N/25 © UCLES 2025 [Turn over 3 Describe the music in lines 15–18. … … … … [2] 4 (a) When was this music written? Baroque Classical Romantic Since 1900 [1] (b) Give reasons for your answer. … … … [2] (c) Who composed it? Bartók Handel Mozart Schumann [1] * 0000800000003 * ,










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4 0410/11/O/N/25 © UCLES 2025 Music A2 You will hear an extract for instruments. Look at the skeleton score and read through Questions 5 to 9. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 34 44 C 32 C & bb Lower instruments? & bb Device? Describe Allegro molto nn & Extract continues ... œ œ œ™œJ œ œ œ œ œ œ™œJ œ œ œ œ œ œ™œJ œ œ œ œ œ œ œ œ œ œ œ œ w w w w ˙ Ó Ó ˙ ˙ w w w w ˙ Ó 5 What do the lower instruments play in bars 12–5? … … … [2] 6 Name the compositional device heard in the melody in bars 6–8. … [1] 7 Describe the music of bars 93–20, referring to the music which is not printed in addition to the music which is. … … … … [3] * 0000800000004 * ,










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5 0410/11/O/N/25 © UCLES 2025 [Turn over 8 Which type of piece is the extract taken from? Concerto Sonata Symphony Waltz [1] 9 When was this music written? Baroque Classical Romantic Since 1900 [1] * 0000800000005 * ,










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6 0410/11/O/N/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 two passages from an instrumental piece separated by a short gap. The two passages are different versions of the printed score. Look at the skeleton score below and read through Questions 10 to 11. 1 2 3 4 5 6 7 8 44 & bb & bb 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 ˙ 10 Two different versions of the printed score are heard. Describe each version. Version 1 … … … Version 2 … … … [4] 11 (a) Where does this music come from? … [1] (b) Give a reason for your answer. … … [1] * 0000800000006 * ,










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7 0410/11/O/N/25 © UCLES 2025 [Turn over Music B2 You will hear an extract for instruments. Read through Questions 12 to 14. 12 (a) Name the melody instrument at the beginning of the extract. … [1] (b) Which of the following effects is used by this instrument? Arco Pitch bending Roll Tremolo [1] (c) What is played by the accompanying instrument at the beginning of the extract? … [1] 13 (a) Which instrument enters later in the extract? … [1] (b) How does the music change for the entry of this instrument? … … [1] 14 Where does this music come from? … [1] * 0000800000007 * ,










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8 0410/11/O/N/25 © UCLES 2025 Music B3 (World Focus: Chinese music) You will hear two passages of Jiangnan sizhu ensemble music separated by a short gap. Read through Questions 15 to 18. 15 (a) Name the texture in the first passage. … [1] (b) Why is music in this texture never played the same way in each performance? … … [1] 16 Name the two instruments heard. … … [2] 17 Comment on the metre and tempo of the two passages. … … … … [3] 18 Briefly describe the performance contexts for this music, including how it has changed more recently. … … … … [3] * 0000800000008 * ,










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10 0410/11/O/N/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 19 to 25. Answer the questions in this booklet. 19 Name the bracketed interval in bars 3–4. … … [2] 20 (a) Name the key and cadence in bars 7–8. Key: … Cadence: … [2] (b) What is the relationship of this key to the tonic key of the extract? … [1] 21 The melody is incomplete in bars 13–14. Fill in the missing notes on the stave below. The rhythm has been given to help you. [3] 22 Which of the following is heard in bars 30–32? Ascending major scale Ascending minor scale Descending major scale Descending minor scale [1] 23 Name the compositional device used in bars 45–48. … [1] * 0000800000010 * ,










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11 0410/11/O/N/25 © UCLES 2025 [Turn over 24 How does the music change when the extract continues (after the printed music)? … … … [2] 25 (a) Which of the following best describes this extract? March Minuet Oratorio Waltz [1] (b) Give reasons for your answer. … … … … [3] * 0000800000011 * ,









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12 0410/11/O/N/25 © UCLES 2025 SECTION D [16 marks] Set Work Answer all the questions on one set work: either Beethoven: Symphony No. 5 (Questions 26 to 32) or Haydn: Trumpet Concerto (Questions 33 to 41). 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) Name the instrument that plays the printed music in bars 1–8. … [1] (b) How does this music relate to music heard in a previous movement? … … … [2] 27 From bar 27 the main theme from the start of the movement (before the recorded extract) is heard. (a) Which instruments play the printed music in bars 27–30? … [1] (b) What is the key of the theme here? … [1] 28 When bars 1–8 of the extract are repeated from bar 61, how has the music changed? … … … … [3] * 0000800000012 * ,









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13 0410/11/O/N/25 © UCLES 2025 [Turn over Music D2 Look at the skeleton score, which you will find in the separate insert, and read through Questions 29 to 32. 29 (a) What is the key at the start of the extract? … [1] (b) What part of the exposition is heard here? … [1] 30 How is the music in bars 04–23 used in bars 24–11? … … … … [3] 31 On the stave below, write the viola part in bar 20 in the treble clef. & [2] 32 In bar 25 the oboe part is marked dolce. What does this mean? … [1] * 0000800000013 * ,









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14 0410/11/O/N/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 33 to 37. 33 Explain precisely what is played in bars 18–21. … … … … [3] 34 What section of the first movement is this? Development Recapitulation of first subject Recapitulation of second subject Solo exposition [1] 35 On the stave below, write the trumpet part in bar 23 at sounding pitch. The key signature has been given. &bbb [2] 36 What is heard next in the movement (after the recorded extract)? … [1] 37 In which venue in Vienna was this concerto first performed? Burgtheater Mehlgrube Musikverein The State Opera [1] * 0000800000014 * ,









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15 0410/11/O/N/25 © UCLES 2025 Music D4 Look at the skeleton score, which you will find in the separate insert, and read through Questions 38 to 41. 38 What section of the movement is played at the beginning of the extract? First subject Introduction Second subject Transition [1] 39 Comment on Haydn’s writing for the trumpet in bars 7–19. … … … … [3] 40 What chord is heard in bars 43–45? … [1] 41 (a) What section of the movement begins in bar 63? … [1] (b) What key is it in? … [1] (c) What is the relationship to the tonic key of the movement? … [1] * 0000800000015 * ,









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16 0410/11/O/N/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 8 printed pages. © Cambridge University Press & Assessment 2025 [Turn over Cambridge IGCSE™ MUSIC 0410/11 Paper 1 Listening October/November 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 October/November 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 October/November 2025 © Cambridge University Press & Assessment 2025 Page 2 of 8 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 2025 © Cambridge University Press & Assessment 2025 Page 3 of 8 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 October/November 2025 © Cambridge University Press & Assessment 2025 Page 4 of 8 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 October/November 2025 © Cambridge University Press & Assessment 2025 Page 5 of 8 Question Answer Marks 1 2 (accept 4) 1 2 Soprano 1 3 Lines 15 and/or 17 are sung as a solo / are monophonic [1]. Line 16 is a repetition of line 15 [1] but is now harmonised [1]. Line 18 is a new answering phrase (in harmony) [1]. The music modulates to a minor key [1]. Allow call and response [1]. 2 4(a) Baroque 1 4(b) Harpsichord / (basso) continuo [1] Small orchestra / mainly strings [1] Ornamentation [1] (Some) polyphonic writing [1] 2 4(c) Handel 1 5 The lower instruments play the same melody but in canon, one bar later. 2 = recognition of the same melody, but slightly later and overlapping (i.e. ‘in canon’) 1 = recognition of the same melody 2 6 Repetition 1 7 (In both phrases): the printed melody is played (very) loudly / unaccompanied / monophonic / doubled [1]. Percussion / snare drum play a prominent rhythm (during the long note) [1]. The lower instruments then repeat the melodic motif [1] but in diminution / shorter note values [1] and at a lower octave [1]. 3 8 Symphony 1 9 Since 1900 1 10 Version 1: the melody is doubled in octaves (accept monophonic) [1], sometimes above, sometimes below [1] with occasional chords [1]. Version 2: the melody is still doubled in octaves [1], there is a semiquaver [1] pentatonic scale [1] countermelody / accompaniment [1]. Bars 5 and 6 are repeated at the end / it is slightly longer [1]. Maximum 3 marks for either version 4 11(a) Japan 1 11(b) Use of (minor) pentatonic scale / koto 1 12(a) Bansuri 1 12(b) Pitch bending 1 12(c) Drone 1 13(a) Tablā 1 13(b) There is a sense of pulse / it is metered / it has a metrical cycle / tāla 1

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2025 © Cambridge University Press & Assessment 2025 Page 6 of 8 Question Answer Marks 14 India 1 15(a) Heterophony 1 15(b) The basic melody is ornamented spontaneously 1 16 Pipa [1] Erhu [1] 2 17 The first passage is relatively slow / in 4/4 [1]. The second passage is faster / in 2/4 [1]. It ends with a free tempo section [1]. 3 18 The music is played by amateurs / who play for recreation [1]. Groups meet in tea-houses / community centres [1]. The number of players is not fixed / as few as two or as many as ten or more players may participate [1]. Generally only one of each instrument is played [1]. Players will take it in turns to play [1]. Others in the venue may listen / may ignore the group [1]. (Maximum two marks for traditional context) Today groups may be invited to play on the concert stage [1]. 3 19 Major [1] third [1] (mark for major only if third is correct) 2 20(a) Key: G major Cadence: Perfect 2 20(b) Dominant 1 21 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 22 Ascending major scale 1 23 (Ascending) sequence (no mark for descending sequence) 1 24 It is in a different key / F major / the subdominant [1]. There are fewer instruments playing / reduced percussion [1]. Use of sustained chords [1] and chromaticism [1] Continuous even quavers / not dotted [1]. 2

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2025 © Cambridge University Press & Assessment 2025 Page 7 of 8 Question Answer Marks 25(a) March 1 25(b) It is scored for wind / brass [1] with lots of use of percussion [1]. There are lots of dotted rhythms [1]. It is in duple time [1] at a fairly brisk tempo [1] There are some triadic/fanfare melodic figures [1]. It is in the ‘military’ key of C major [1]. 3 26(a) Horn(s) 1 26(b) The repeated note / rhythm / three short notes followed by a longer one [1] refers to the opening of the first movement / the fate motif [1]. 2 27(a) Cellos and (double) basses 1 27(b) B flat minor 1 28 It is played by the full orchestra / more richly textured [1], is extended [1], is in F minor [1] and at a higher pitch [1]. 3 29(a) G major 1 29(b) 2nd subject 1 30 It is used in inversion (accept descends instead of ascends) [1], then repeated tutti/full orchestra/f [1], heard in inverted form again with reduced orchestra/p [1] and then used as an ascending sequence [1], briefly passing through a minor key [1]. 3 31 One mark per note 2 32 Sweetly 1 33 The motif from bar 14 is played (twice) [1] but in diminution / with shorter note values [1] by the violins [1]. This is followed by triplet quaver / broken chords (accept triplet figure) [1]. The trumpet then repeats this / imitates the orchestra [1]. 3 34 Recapitulation of first subject 1 35 One mark per note 2 36 The cadenza 1 37 Burgtheater 1 38 Second subject 1

0410/11 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2025 © Cambridge University Press & Assessment 2025 Page 8 of 8 Question Answer Marks 39 (In bars 7–13) the trumpet uses wide leaps / a fanfare / broken chord pattern [1] which is decorated/ornamented / has mordents [1]. (Bars 14–19) use a chromatic scale / movement [1]. This passage shows off the capabilities of the new instrument (accept reference to the keyed trumpet) [1]. 3 40 Dominant seventh (B flat 7) 1 41(a) Development 1 41(b) A flat (major) 1 41(c) Subdominant 1