Cambridge IGCSE Music 0410 — 2025 Oct/Nov Paper 1 · Variant 3

[Turn over Cambridge IGCSE™ DC (WW) 345715/2 © UCLES 2025 This document has 16 pages. Any blank pages are indicated. * 2 3 3 7 7 0 8 9 4 4 * MUSIC 0410/13 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 0410/13/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 piano. The words are printed below. Read through Questions 1 to 4. [Piano introduction] 1 The earth hath voice, 2 The earth hath voice, 3 The earth hath voice, 4 And speech is in the sea. 1 Which of the following best describes the melodic shape of the words ‘The earth’ in line 1? Ascending fifth, falling step Ascending fifth, rising step Ascending octave, falling step Ascending octave, rising step [1] 2 Compare the three settings of ‘The earth hath voice’ in lines 1, 2 and 3, describing similarities and differences. … … … … [3] 3 How does the music suggest the sea at the end of line 4? … … … [2] * 0000800000002 * ,










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3 0410/13/O/N/25 © UCLES 2025 [Turn over 4 (a) When was this music written? Baroque Classical Romantic Since 1900 [1] (b) Give a reason for your answer. … … [1] * 0000800000003 * ,










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4 0410/13/O/N/25 © UCLES 2025 Music A2 You will hear an extract for instruments. Look at the skeleton score below and read through Questions 5 to 8. Instrument? 1 2 3 4 5 6 7 8 Changes? 9 10 11 12 13 14 15 16 54 ?## 3 3 ?## 3 3 ?## ?## Extract continues ... 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 œ ≈ œ œ ≈œ# ˙™ œ œn œ œ œ œ œ œ œ œ œ œ œb œ œ œ œb 5 What instrument plays the printed melody in bars 1–8? … [1] 6 When the opening melody is repeated in bars 9–16 what is different? … … … … [3] * 0000800000004 * ,










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5 0410/13/O/N/25 © UCLES 2025 [Turn over 7 (a) When the extract continues after the printed score, which two bars of the printed music is it based on? Bars … and … [1] (b) How is this melody accompanied? Alberti bass Drum roll Pedal Pizzicato strings [1] 8 (a) Identify a feature of the music that shows it was written in the Romantic period. … … [1] (b) Who composed it? Bach Gershwin Mozart Tchaikovsky [1] * 0000800000005 * ,










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6 0410/13/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 9 to 11. 9 (a) Describe the music played by the melody instrument in the first part of the extract (until the entry of a new instrument towards the end of the extract). … … … [2] (b) How is it accompanied? … [1] 10 How does the music of the melody instrument change when the new instrument enters? … … … [2] 11 Where does this music come from? … [1] * 0000800000006 * ,










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7 0410/13/O/N/25 © UCLES 2025 [Turn over Music B2 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 12 to 14. 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 ˙ 12 Name the instrument heard in the two passages. … [1] 13 Two different versions of the printed score are heard. Describe each version. Version 1 … … … Version 2 … … … [4] 14 Where does this music come from? … [1] * 0000800000007 * ,










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8 0410/13/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 Name one of the instruments heard and state how it is played. Instrument: … How it is played: … [2] 16 (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] 17 Comment on the metre and tempo of the two passages. … … … … [3] 18 Briefly describe some of the ways Chinese music has been notated and taught. … … … … [3] * 0000800000008 * ,










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10 0410/13/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 (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] 20 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] 21 Name the bracketed interval in bar 29. … … [2] 22 Which of the following is heard in the accompaniment in bars 33–40? Clarinet triplets Cymbal crashes Flute trills Snare drum rolls [1] * 0000800000010 * ,










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11 0410/13/O/N/25 © UCLES 2025 [Turn over 23 Name the compositional device used in bars 45–48. … [1] 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 0410/13/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 How is the statement of the theme in bars 1–12 different from when it was first heard in the movement (before the recorded extract)? … … … [2] 27 The movement’s opening theme is played in bars 19–22. Describe what is played in bars 23–30. … … … … [3] 28 Starting from bar 37, how does Beethoven build towards a climax? … … … … [3] * 0000800000012 * ,









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13 0410/13/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 Name the chord at bar 36. … [1] * 0000800000013 * ,









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14 0410/13/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 36. 33 (a) What is the key at the beginning of the extract? … [1] (b) What is the relationship of this key to the tonic key of the concerto as a whole? … [1] 34 Compare bars 5–8 with bars 1–4, commenting precisely on similarities and differences. … … … … [3] 35 Comment on the tonality in bars 11–16. … … … [2] 36 In which venue in Vienna was this concerto first performed? Burgtheater Mehlgrube Musikverein The State Opera [1] * 0000800000014 * ,









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15 0410/13/O/N/25 © UCLES 2025 Music D4 Look at the skeleton score, which you will find in the separate insert, and read through Questions 37 to 41. 37 Describe the trumpet writing in bars 11–14. … … [1] 38 Explain why the trumpet part in bars 29–33 could only have been played on the new instrument Haydn wrote this concerto for. … … … … [2] 39 On the stave below, write the trumpet part in bar 40 at sounding pitch. The key signature has been given. & bbb [2] 40 What instrumental effect do the strings use in the passage from bars 67–71? Double stopping Glissando Pizzicato Tremolo [1] 41 Describe the structure of this movement as a whole, and explain how the recorded extract fits into the structure. … … … [2] * 0000800000015 * ,









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16 0410/13/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 0410/13 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.

0410/13 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.

0410/13 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

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2025 © Cambridge University Press & Assessment 2025 Page 4 of 7 Question Answer Marks 1 Ascending octave, falling step 1 2 They all begin in the same way [1]. Line 1 is in octaves throughout [1], line two becomes chordal / harmonised / uses cluster chords [1] and uses a higher pitch at the end of the line [1], line 3 stays longer (on the word ‘hath’) [1] and the sopranos and altos end lower / have a different melodic shape (on the word ‘voice’) [1]. Crescendo [1]. 3 3 Low pitch [1] and the rolling / ascending and descending piano part [1] suggest waves, vocal sounds / s / sh etc [1] imitate the sound of waves on the shore. Use of sustaining pedal [1] to blur the sound. 2 4(a) Since 1900 1 4(b) Dissonance/cluster chords/vocal sounds 1 5 Cello(s) 1 6 The melody is now played by the woodwind (accept flute, oboe or clarinet) [1] (one/two octaves) higher [1]. The cellos add a countermelody / there is a polyphonic texture [1]. It modulates [1] and ends with a descending sequence instead of a scale [1] and a perfect rather than an imperfect cadence [1]. 3 7(a) Bars 1 / 3 / 5 / 7 and 6 1 7(b) Pedal 1 8(a) Large orchestra / prominent use of wind / melodic use of cello / high cello register / lyrical / expressive melody 1 8(b) Tchaikovsky 1 9(a) Long held notes [1] with occasional shorter notes / flourishes [1], no sense of pulse [1], vibrato / pitch bending / ornamentation / sliding [1] 2 9(b) By a tambura / drone 1 10 There is a sense of pulse / it is metered / it has a metrical cycle / tāla [1], use of repeated ideas / three-note motif [1] with shorter note values [1]. 2 11 India 1 12 Koto 1 13 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 14 Japan 1

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2025 © Cambridge University Press & Assessment 2025 Page 5 of 7 Question Answer Marks 15 Instrument: Pipa [1] How it is played: plucked [1] OR Instrument: Erhu [1] How it is played: bowed [1] Award [1] if instrument correctly named but incorrect method of playing given or vice versa. 2 16(a) Heterophony 1 16(b) The basic melody is ornamented spontaneously 1 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 Different types of notation system are used for different genres and instruments, e.g. tablature, Chinese characters, cipher notation and more recently, Western staff notation. Oral / aural transmission was also an important part of music learning and was usually passed on within the family or a hereditary lineage. With the introduction of music conservatoires, music learning has become more institutionalised with formal teaching resulting in playing from notated scores. A good understanding of both notation and teaching [3] Some understanding of both notation and teaching [2] A little understanding of notation or teaching [1] 3 19(a) Key: G major Cadence: Perfect 2 19(b) Dominant 1 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 Minor [1] third [1] (mark for minor only if third is correct) 2 22 Clarinet triplets 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

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2025 © Cambridge University Press & Assessment 2025 Page 6 of 7 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 It is now tutti / full orchestra / not horns playing the theme [1] It is in F minor [1]. 2 27 There is the original answering phrase (in the woodwind) [1], combined with a new phrase [1] in contrary motion (in the cellos) [1] and the horn theme / main scherzo theme (in the violins) [1]. 3 28 There are shorter note values / quavers for the first time [1]. There are chords on weak beats / beats 2 and 3 / beat 3 (accept off beats) [1]. There is a crescendo / getting louder [1] and denser orchestration / trumpets / timpani / double basses / horns join in [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 F minor 1 33(a) A flat (major) 1 33(b) Subdominant 1 34 Bar 5 is identical to bar 1 [1] but bar 6 is more decorated [1] with the addition of a demisemiquaver / scale [1], reaching one note higher at the highest point [1]. The phrase finishes with a perfect cadence / not imperfect / does not have the violin link [1]. 3 35 Initially it moves towards A flat minor / a modal shift [1] and then moves to C flat major [1] which is a remote key [1]. (Allow [1] for an answer which refers to minor tonality without any further correct detail) 2 36 Burgtheater 1 37 It plays rising broken octaves (or accept a description) 1

0410/13 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2025 © Cambridge University Press & Assessment 2025 Page 7 of 7 Question Answer Marks 38 It is a low chromatic scale [1] which could not be played on a natural trumpet / could only be played on a keyed trumpet [1]. 2 39 One mark per note 2 40 Tremolo 1 41 The movement is in sonata rondo form [1]. This extract is the second subject (of the recapitulation) and coda (accept it is part of the recapitulation) [1]. 2