Cambridge IGCSE Music 0410 — 2025 Oct/Nov Paper 1 · Variant 2

[Turn over Cambridge IGCSE™ This document has 16 pages. Any blank pages are indicated. DC (WW) 345722/2 © UCLES 2025 MUSIC 0410/12 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 [ ]. * 0 8 6 7 7 4 2 2 1 8 * ,










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2 0410/12/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 5. [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 What type of voice sings in lines 1–6? … [1] 2 How is the music of lines 3–4 different from lines 1–2? … … [1] * 0000800000002 * ,










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3 0410/12/O/N/25 © UCLES 2025 [Turn over 3 Which two features are heard in line 9? Tick two boxes. Ascending sequence Contrary motion Descending sequence Ground bass Melisma Ostinato [2] 4 Describe the music in lines 15–18. … … … … [2] 5 (a) When was this music written? Baroque Classical Romantic Since 1900 [1] (b) Who composed it? Bartók Handel Mozart Schumann [1] * 0000800000003 * ,










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4 0410/12/O/N/25 © UCLES 2025 Music A2 You will hear an extract for instruments. Look at the skeleton score and read through Questions 6 to 10. 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 Marking? 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 œ œ œ œ œ œ œ œ œ œ w w w w ˙ Ó Ó ˙ ˙ w w w w ˙ Ó 6 What do the lower instruments play in bars 12–5? … … … [2] 7 Which of the following markings would be appropriate in bar 7? Accelerando (accel.) Diminuendo (dim.) Pizzicato (pizz.) Rallentando (rall.) [1] 8 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 0410/12/O/N/25 © UCLES 2025 [Turn over 9 Which type of piece is the extract taken from? Concerto Sonata Symphony Waltz [1] 10 When was this music written? Baroque Classical Romantic Since 1900 [1] * 0000800000005 * ,










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6 0410/12/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 an extract for instruments. Read through Questions 11 and 12. 11 (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] 12 (a) Where does this music come from? … [1] (b) Give reasons for your answer. … … … … [3] * 0000800000006 * ,










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7 0410/12/O/N/25 © UCLES 2025 [Turn over Music B2 You will hear an extract for instruments. Look at the skeleton score and read through Questions 13 to 15. 1 9 10 11 12 13 14 15 16 44 & bbbbb 8 Introduction & bbbbb & bbbbb Extract continues ... ˙ œJ œ œ œn œ œ ˙ ˙ œj œ œ œ ˙™ œ œ œ œ œ ˙ w œn ™ œ œ œJ œ œn œ ˙™ Œ 13 (a) After the eight-bar introduction, what instrument plays the printed melody? … [1] (b) Describe the accompaniment to the printed melody. … … … [2] 14 Describe two ways in which the music which is heard as the extract continues makes a contrast with bars 9–16. … … … [2] 15 Where does this music come from? … [1] * 0000800000007 * ,










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8 0410/12/O/N/25 © UCLES 2025 Music B3 (World Focus: Chinese music) You will hear two passages from a piece of Guangdong music, separated by a short gap. Look at the skeleton score and read through Questions 16 to 19. 44 & # Introduction & # & # Extract continues ... œ œ œ œ œ œ œ œ œ œ™œJ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ ˙ œ ˙™ œ œ œ ˙ œ œ™ œJ œ™œ œ œ ˙™ 16 Describe the texture of the music in the first passage. … … … [2] 17 Complete the table below, to show the two most prominent melody instruments heard in the extract and how the sound is produced on each. Instrument Sound … It is a bowed string instrument (similar to an erhu). Yangqin … … [3] * 0000800000008 * ,










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9 0410/12/O/N/25 © UCLES 2025 [Turn over 18 What other features of the complete extract are typical of Guangdong music? Do not repeat any information already given in your answers. … … … … … [4] 19 Which of the following places is commonly associated with Guangdong music? Beijing Hong Kong Nanjing Shanghai [1] * 0000800000009 * ,










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10 0410/12/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 20 to 27. Answer the questions in this booklet. 20 Comment on the way bars 5–7 are performed compared with bars 1–4. … … … [2] 21 Name the key and cadence in bar 11. Key: … Cadence: … [2] 22 Describe the accompaniment to the melody in bars 21–27. … … … … [2] 23 Name the bracketed interval in bar 29. … … [2] 24 What compositional device is used in bars 36–37? … [1] * 0000800000010 * ,










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11 0410/12/O/N/25 © UCLES 2025 [Turn over 25 The melody is incomplete in bar 42. Fill in the missing notes on the stave below. The rhythm has been given to help you. 42 [3] 26 This piece is a trio for violin, piano and what other instrument? … [1] 27 (a) When was this music written? Baroque Classical Romantic Since 1900 [1] (b) Give two reasons for your answer. … … … [2] * 0000800000011 * ,









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12 0410/12/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 28 to 33) or Haydn: Trumpet Concerto (Questions 34 to 42). 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 28 to 30. 28 (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] 29 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] 30 When bars 1–8 of the extract are repeated from bar 61, how has the music changed? … … … … [3] * 0000800000012 * ,









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13 0410/12/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 31 to 33. 31 (a) What section of the movement is this extract from? … [1] (b) Name precisely the theme heard at the start of the extract. … [1] (c) In which order do the instruments appear playing the theme? Bassoon – clarinet – horn – flute Bassoon – flute – horn – clarinet Bassoon – horn – clarinet – flute Bassoon – horn – flute – clarinet [1] 32 On the stave below, write the bracketed notes of the viola part in bar 18 in the treble clef. & [2] 33 How does Beethoven increase excitement from bar 20? … … … … [3] * 0000800000013 * ,









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14 0410/12/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 34 to 38. 34 On the stave below, write the trumpet part in bar 14 at sounding pitch. The key signature has been given. & bbb [2] 35 Explain precisely what is played in bars 18–21. … … … … [3] 36 What section of the first movement is this? Development Recapitulation of first subject Recapitulation of second subject Solo exposition [1] 37 What is heard next in the movement (after the recorded extract)? … [1] 38 When was this concerto first performed? 1762 1766 1800 1809 [1] * 0000800000014 * ,









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15 0410/12/O/N/25 © UCLES 2025 Music D4 Look at the skeleton score, which you will find in the separate insert, and read through Questions 39 to 42. 39 What section of the movement is played at the beginning of the extract? First subject Introduction Second subject Transition [1] 40 Comment on Haydn’s writing for the trumpet in bars 7–19. … … … … [3] 41 What chord is heard in bars 43–45? … [1] 42 (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 0410/12/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 7 printed pages. © Cambridge University Press & Assessment 2025 [Turn over Cambridge IGCSE™ MUSIC 0410/12 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.

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 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.

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 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

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2025 © Cambridge University Press & Assessment 2025 Page 4 of 7 Question Answer Marks 1 Soprano 1 2 The melody is accompanied / harmonised / homophonic / not monophonic / there is an added bass line / (basso) continuo / more instruments join the accompaniment 1 3 Ascending sequence [1] Melisma [1] 2 4 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 5(a) Baroque 1 5(b) Handel 1 6 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 7 Rallentando (rall.) 1 8 (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 9 Symphony 1 10 Since 1900 1 11(a) Bansuri 1 11(b) Pitch bending 1 12(a) India 1 12(b) There is a drone [1]. The melody is slow / free time / unmetered at first [1] and improvisatory [1]. The tablā join [1] and a metre / metrical cycle / tāla develops [1] 3 13(a) Bandoneon 1 13(b) A piano plays a pattern of three / ascending then descending notes [1] which is constantly repeated [1] above a walking bass [1]. It is taken from the music of the introduction [1]. 2

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2025 © Cambridge University Press & Assessment 2025 Page 5 of 7 Question Answer Marks 14 Major key [1] (until near the end). The piano is more prominent [1] and plays arpeggios (accept broken chords) [1]. The melody uses a wider range of articulation [1]. There are some very distinctive rests for the whole ensemble [1]. 2 15 Latin America / Argentina 1 16 It is heterophonic [1] in octaves [1]. All of the instruments play the same basic melody [1] but with different ornamentation / slides / use of tremolo [1]. 2 17 Instrument: Gaohu [1] Playing technique of yangqin: It is a hammered [1] string instrument / dulcimer [1]. 3 18 The piece begins in free tempo [1]. The pentatonic scale is used [1]. The first passage is in 4/4 / quadruple time [1]. The second passage of music is faster than the first [1] and in 2/4 [1]. There are no percussion instruments [1]. 4 19 Hong Kong 1 20 Bars 5–7 are quieter / calm / more legato [1]; bars 1–4 are accented / detached / staccato and loud at first (but bars 3 and 4 are much softer) [1] 2 21 E flat (major) [1] Imperfect [1] 2 22 The piano plays quaver [1] arpeggios / broken chords [1] in octaves [1]. The cello holds longer notes [1]. 2 23 Minor [1] third [1] (third must be correct to get the mark for minor) 2 24 Repetition (accept imitation) 1 25 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 26 Cello 1 27(a) Romantic 1 27(b) Lyrical melody / legato / expressive playing [1]. Wide range of articulation / pitch / dynamics [1]. Mediant (accept unexpected) modulation [1]. Diminished seventh chords / chromaticism [1]. Virtuosic piano part [1]. 2

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2025 © Cambridge University Press & Assessment 2025 Page 6 of 7 Question Answer Marks 28(a) Horn(s) 1 28(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 29(a) Cellos and (double) basses 1 29(b) B flat minor 1 30 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 31(a) Coda 1 31(b) 1st subject 2nd theme 1 31(c) Bassoon – horn – flute – clarinet 1 32 One mark per note 2 33 Shortening the two-bar phrases to one bar [1], repetition [1], crescendo [1], dominant pedal [1], increase in tempo/sempre più allegro [1], off -beat chords [1], piccolo scalic flourishes [1]. 3 34 One mark per note 2 35 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 36 Recapitulation of first subject 1 37 The cadenza 1 38 1800 1 39 Second subject 1 40 (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 41 Dominant seventh (B flat 7) 1

0410/12 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2025 © Cambridge University Press & Assessment 2025 Page 7 of 7 Question Answer Marks 42(a) Development 1 42(b) A flat (major) 1 42(c) Subdominant 1