Cambridge IGCSE Music (9-1) 0978 — 2020 May/June Paper 1 · Variant 2

Cambridge IGCSE™(9–1) DC (LEG) 200758 © UCLES 2020 [Turn over This document has 16 pages. Blank pages are indicated. * 5 2 0 9 6 4 3 5 2 3 * MUSIC 0978/12 Paper 1 Listening May/June 2020 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. ● For each question, tick (3) one of the boxes to show the most appropriate answer, or write your answer in the space provided. ● 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. ● 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 [ ].

2 0978/12/M/J/20 © UCLES 2020 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 of music for voices and instruments. The words are printed below. Read through questions 1 to 4. 1 On an echoing road 2 Trotting in unison, 3 Now out of step, 4 Now as one again, 5 Are two horses saddled together, 6 Guided by a single hand. 1 Describe the music of the piano introduction. … … … [2] 2 One of the voices is a male alto (countertenor). What other voice is heard? Soprano Alto Tenor Bass [1] 3 How does the music match the meaning of the words in lines 1–4? Give two specific examples. Example 1: … … Example 2: … … [2]

3 0978/12/M/J/20 © UCLES 2020 [Turn over 4 (a) When was this music written? … [1] (b) Give two reasons for your answer. … … … [2]

4 0978/12/M/J/20 © UCLES 2020 Music A2 You will hear an extract of music for instruments. Look at the skeleton score and read through questions 5 to 9. 5 What word best describes the articulation in bars 1–4? … [1] 6 Describe the texture of the music in bars 5–12. … … … … [2]

5 0978/12/M/J/20 © UCLES 2020 [Turn over 7 When the extract continues (after bar 23) comment on ways in which it is similar and different from the music in bars 1–23. … … … … [3] 8 What type of ensemble is playing? … [1] 9 Who composed this piece? Bach Gershwin Reich Tchaikovsky [1]

6 0978/12/M/J/20 © UCLES 2020 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 of music for voices and instruments. Read through questions 10 to 11. 10 Describe the music of the instrumental introduction (before the voices enter). … … … [3] 11 (a) Where does this music come from? … [1] (b) How is the music sung by the voices typical of music from this area? … … … [2]

7 0978/12/M/J/20 © UCLES 2020 [Turn over Music B2 You will hear an extract of music for instruments. Look at the skeleton score and read through questions 12 to 14. 12 (a) What instrument plays the printed melody? … [1] (b) How is the sound produced on this instrument? … [1] 13 Which two of the following features are heard in the accompaniment? Tick two boxes. Alberti bass Canon Glissando Melisma Ostinato [2] 14 (a) Where does this music come from? … [1] (b) Apart from the instruments that are used, give a reason for your answer. … … [1]

8 0978/12/M/J/20 © UCLES 2020 Music B3 (World Focus: Arabic Music) You will hear three passages performed by a Takht ensemble, separated by short gaps. Read through questions 15 to 19. 15 What features of the music in the first passage are typical of Arabic music? … … … … [3] 16 (a) What instrument is heard in the second passage of music? … [1] (b) What is the Arabic name for this passage of music? … [1] 17 How is the music in the third passage different from the first passage? … … … [2] 18 Explain how the different passages in this extract are typical of the structure of Takht instrumental music. … … … [2] 19 In what venues might this music have been performed in the late nineteenth / early twentieth century? … … [1]

9 0978/12/M/J/20 © UCLES 2020 [Turn over 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 a piece of instrumental music. 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 What would be a suitable Italian tempo marking for this music? … [1] 21 What instrument plays the printed melody? … [1] 22 The melody is incomplete in bars 3–4. Fill in the missing notes on the stave below. The rhythm has been given to help you. [3] 23 What compositional device is used in bars 18–19? … [1] 24 Name the bracketed interval in bar 28. … … [2] 25 (a) What key is the music in at bar 32? … [1] (b) What is the relationship of this key to the tonic key of the extract? … [1]

10 0978/12/M/J/20 © UCLES 2020 26 What type of piece is this? March Sonata Symphony Waltz [1] 27 (a) In which period was this music written? … [1] (b) Give three reasons for your answer. … … … … [3] (c) Who composed it? Beethoven Brahms Debussy Handel [1]

11 0978/12/M/J/20 © UCLES 2020 [Turn over SECTION D [16 marks] Set Work Answer all the questions on one set work: either Mozart: Piano Concerto No. 21 (questions 28 to 35) or Rossini: William Tell Overture (questions 36 to 43). Mozart: Piano Concerto No. 21 You will hear two extracts. Each extract will be played twice, with a pause between each playing. Music D1 Look at the skeleton score in the Insert, and read through questions 28 to 31. 28 How is the music in bars 1–7 different from when it was played earlier in the movement (before the recorded extract)? … … [1] 29 Name the section of the movement which begins at bar 26. … [1] 30 On the stave below, write the third and fourth notes of the viola part in bar 28 in the treble clef. [2] 31 (a) Describe precisely the chord played at the start of bar 38. … [1] (b) Explain in detail what is played next in the movement, immediately after the recorded extract. … … … … [3]

12 0978/12/M/J/20 © UCLES 2020 Music D2 Look at the skeleton score, which you will find in the separate Insert, and read through questions 32 to 35. 32 (a) What section of the movement is this extract taken from? … [1] (b) How is the music in bars 1–11 different from when it was first played in the movement (before the recorded extract)? … … … [2] 33 (a) What is the function of the music in bars 18–27? … … [1] (b) What is this passage called? … [1] 34 (a) What key does the music reach at bar 30? … [1] (b) How is this key related to the tonic key of the movement? … [1] 35 In which year did Mozart compose this piano concerto? 1756 1779 1785 1791 [1]

13 0978/12/M/J/20 © UCLES 2020 [Turn over Rossini: William Tell 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 36 to 40. 36 Briefly describe the harmony which accompanies the melody in bars 8–12. … … [1] 37 In bar 11 the accompanying instruments are marked sotto voce. What does this mean? … … [1] 38 (a) What does the music from bar 13 onwards represent? … [1] (b) How does Rossini achieve this? … … … [2] 39 Explain how the music which is heard immediately after the printed music uses ideas from bars 13–22. … … … [2] 40 What happens next in the overture in the few bars immediately after the recorded extract? … … [1]

14 0978/12/M/J/20 © UCLES 2020 Music D4 Look at the skeleton score, which you will find in the separate Insert, and read through questions 41 to 43. 41 (a) Describe the music of the introduction (bars 1–17). … … … [2] (b) What does it represent? … [1] 42 On the stave below, write the first two notes of the clarinet part in bar 52 at sounding pitch. The key signature has been given. [2]

15 0978/12/M/J/20 © UCLES 2020 43 Complete the table below to show the structure of the extract, naming the main keys. Bars Section Key 1–17 Introduction E major 18–34 A … … … … … Link … … … [3]

16 0978/12/M/J/20 © UCLES 2020 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 the Cambridge Assessment Group. Cambridge Assessment is the brand name of the University of Cambridge Local Examinations Syndicate (UCLES), which itself is a department of the University of Cambridge. BLANK PAGE

This document consists of 6 printed pages. © UCLES 2020 [Turn over Cambridge IGCSE™ (9–1) MUSIC 0978/12 Paper 1 Listening May/June 2020 MARK SCHEME Maximum Mark: 70 Published Students did not sit exam papers in the June 2020 series due to the Covid-19 global pandemic. This mark scheme is published to support teachers and students and should be read together with the question paper. It shows the requirements of the exam. The answer column of the mark scheme shows the proposed basis on which Examiners would award marks for this exam. Where appropriate, this column also provides the most likely acceptable alternative responses expected from students. Examiners usually review the mark scheme after they have seen student responses and update the mark scheme if appropriate. In the June series, Examiners were unable to consider the acceptability of alternative responses, as there were no student responses to consider. Mark schemes should usually be read together with the Principal Examiner Report for Teachers. However, because students did not sit exam papers, there is no Principal Examiner Report for Teachers for the June 2020 series. Cambridge International will not enter into discussions about these mark schemes. Cambridge International is publishing the mark schemes for the June 2020 series for most Cambridge IGCSE™ and Cambridge International A & AS Level components, and some Cambridge O Level components.

0978/12 Cambridge IGCSE (9–1) – Mark Scheme PUBLISHED May/June 2020 © UCLES 2020 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 descriptors 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.

0978/12 Cambridge IGCSE (9–1) – Mark Scheme PUBLISHED May/June 2020 © UCLES 2020 Page 3 of 6 Question Answer Marks 1 Ascending then descending arpeggio / Ascending 4 note motif / descending 3 note motif [1] Ostinato [1] 2 2 Soprano 1 3 On an echoing road (line 1): The second voice imitates (echoes) the first voice [1] Trotting in unison (line 2): The voices sing in unison [1] and regular rhythm to represent trotting [1] Now out of step (line 3): ref. to staggered entry Now as one again (line 4): singing in harmony / same rhythm. 2 4(a) Twentieth Century. 1 4(b) Chromatic / angular melody writing [1]. Some dissonance [1]. Ostinato accompaniment [1]. Irregular metre / 7/8 [1] ambiguous tonality [1]. 2 5 Staccato or detached 1 6 Bar 5 is monophonic / solo [1]. The (viola) then imitates the first violin melody in bar 6 [1] but otherwise it is homophonic [1]. There is a (cello) pedal [1]. Melody dominated homophony [1] 2 7 The key changes [1]. A more legato melody / melody in longer notes is heard [1] but the accompaniment uses the rhythm from earlier (e.g. bar 20) [1] Melody is played in octaves [1] Answer must include similarities and differences for three marks. 3 8 String quartet (accept string trio or quintet). 1 9 Tchaikovsky 1 10 It is played by percussion instruments (accept maximum 1 mark for a named instrument e.g. drums / shakers / balafon) [1]. They enter one by one [1] playing ostinato / repetitive rhythms [1] and creating polyrhythm [1]. Credit [1] for a description of the balafon part, e.g. 3 note repeated motif at first, followed by a higher melodic part. 3 11(a) Africa 1 11(b) Call and response [1]. A solo singer sings answered by a group [1]. The response is in parallel harmony [1]. 2 12(a) Erhu 1 12(b) It is a bowed string instrument. 1 13 Glissando Ostinato 2 14(a) China 1 14(b) Pentatonic scale [1]. 4/4 time [1]. 1

0978/12 Cambridge IGCSE (9–1) – Mark Scheme PUBLISHED May/June 2020 © UCLES 2020 Page 4 of 6 Question Answer Marks 15 Repetitive / rhythmic accompaniment, accept rhythmic mode / Iqa’ [1]. Heterophonic melody [1] using a mode/maqam / quarter-tones [1]. There are no chords / harmonies [1]. 3 16(a) Nay 1 16(b) Taqsim 1 17 A voice is added [1] improvising [1], using syllables such as ‘ya’, ‘li’, ‘la’, etc [1]. The music is unmetered / the riqq has stopped playing [1]. Instruments shadow the vocals [1]. 2 18 Takht music is usually in suite form / several pieces [1]. The use of composed music [1], improvised taqsim [1] and layali sections [1] is typical. 2 19 Private homes / courts / palaces 1 20 Allegro / Allegretto/ Vivace 1 21 Oboe 1 22 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 23 (Descending) sequence 1 24 Perfect [1] fourth [1] (Fourth must be correct to get the mark for perfect) 2 25(a) D minor 1 25(b) Relative minor 1 26 Sonata 1 27(a) Baroque 1 27(b) Use of harpsichord / continuo [1]. Contrapuntal / imitative texture [1]. Ornamentation / trills [1]. Sequences [1]. Terraced dynamics [1]. 3 27(c) Handel 1 28 It is now in the tonic / not the dominant 1 29 (Orchestral / final) ritornello 1

0978/12 Cambridge IGCSE (9–1) – Mark Scheme PUBLISHED May/June 2020 © UCLES 2020 Page 5 of 6 Question Answer Marks 30 One mark per note 2 31(a) Tonic / C major second inversion / Ic 1 31(b) There is a cadenza [1] The orchestra stops / only the soloist plays [1] an improvised [1] solo based on some of the main themes [1] and including virtuosic display [1]. 3 32(a) Solo exposition 1 32(b) There is an added piano (dominant) trill [1] The piano plays the answering phrase [1] There is added decoration in the answering phrase [1] The piano plays semiquavers under the wind fanfare [1] 2 33(a) To modulate (to the dominant / G major) 1 33(b) Transition / bridge (passage) 1 34(a) G minor 1 34(b) Dominant minor (Accept dominant if 34a is correct). 1 35 1785 1 36 It is all tonic harmony / E major chord / does not change chord 1 37 Below the voice / quietly 1 38(a) A storm 1 38(b) Fast tempo / quick notes / semi-quavers [1]. Chromaticism [1]. Staccato crotchets in the wind (represent raindrops) [1]. Partial ascending and descending scales [1] 2 39 It combines the ideas which were previously used separately (accept any examples) [1]. The wind crotchets are now on the off beats [1] and are in every bar [1] Continuous string semi-quavers [1]. 2 40 There is a crescendo / more instruments are added / building towards the tutti [1]. There is a dominant pedal [1] 1 41(a) There is a trumpet fanfare [1] on an E major broken chord [1] which is imitated by the horns [1] and joined by the timpani on a dominant pedal [1]. 2 41(b) It represents the troops assembling 1 42 One mark per note 2

0978/12 Cambridge IGCSE (9–1) – Mark Scheme PUBLISHED May/June 2020 © UCLES 2020 Page 6 of 6 Question Answer Marks 43 Bars Section Key 1–17 Introduction E major 18–34 A E major 35–50 B C# minor 51–58 Link 59–74 A E major Completely correct [3] Mostly correct [2] Some correct elements [1] OR Correct bar numbers [1] Correct sections [1] Correct keys [1] Allow flexibility for upbeats. 3