Cambridge IGCSE Music (9-1) 0978 — 2024 May/June Paper 1 · Variant 2

This document has 16 pages. [Turn over Cambridge IGCSE™(9–1) MUSIC 0978/12 Paper 1 Listening May/June 2024 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 [ ]. * 9 6 0 0 5 9 8 7 4 5 * DC (SL) 340832 © UCLES 2024

2 0978/12/M/J/24 © UCLES 2024 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 from an opera. The words (which are sung in an English translation) are printed below. Read through questions 1 to 6. 1 Brave soldiers, 2 Brave soldiers 3 Arise and join me, my proud and trusty warriors; 4 My proud and trusty warriors. 5 This is a day of triumph: be happy and celebrate. 6 Yes, my proud and trusty warriors 7 Be happy, yes, be happy and celebrate; 8 Yes, yes be happy; yes, yes be happy, be happy and celebrate. 9 Our voices let us raise in your eternal praise. 10 Our voices let us raise in your eternal praise. 1 Which of the following describes the melodic shape of line 2? An ascending interval followed by an ascending scale An ascending interval followed by a descending scale A descending interval followed by an ascending scale A descending interval followed by a descending scale [1] 2 Which term describes the music of lines 1–4? Aria Chorus Recitative Verse [1] 3 What type of voice is heard in lines 1–8? … [1]

3 0978/12/M/J/24 © UCLES 2024 [Turn over 4 Give a suitable Italian tempo marking for the music of lines 5–8. … [1] 5 In what ways does the music of lines 9–10 help to suggest the meaning of the words? … … … … [3] 6 Who composed this music? Bach Debussy Monteverdi Rossini [1]

4 0978/12/M/J/24 © UCLES 2024 Music A2 You will hear an extract for instruments. Look at the skeleton score and read through questions 7 to 11. The repeats are played on the recording. 7 What instrument plays the printed melody? … [1] 8 What type of cadence is heard in bars 3–4? … [1] 9 Explain how the first four notes are performed differently from the printed music when this passage is repeated. … … [1] 10 What type of piece is this? Concerto Minuet Sonata Symphony [1]

5 0978/12/M/J/24 © UCLES 2024 [Turn over 11 (a) What features of this piece are typical of the Baroque period? You may refer to the music and/or the way it is performed on the recording. … … … … [3] (b) Who composed this music? Bartók Handel Haydn Tchaikovsky [1]

6 0978/12/M/J/24 © UCLES 2024 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 a piece of music for instruments, separated by a short gap. Read through questions 12 to 13. 12 (a) Name the main instrument in the first passage. … [1] (b) How is the sound produced on this instrument? … [1] 13 (a) Where does this music come from? … [1] (b) Give reasons for your answer, referring to the music of both passages. … … … … [3]

7 0978/12/M/J/24 © UCLES 2024 [Turn over Music B2 You will hear an extract for instruments. Read through questions 14 to 17. 14 What instrument plays the highest melodic part? … [1] 15 Describe the texture of the music. … … … [2] 16 Comment on the tempo and metre of the whole extract. … … … [2] 17 Where does this music come from? … [1]

8 0978/12/M/J/24 © UCLES 2024 Music B3 (World Focus: Latin American Music) You will hear an extract of choro music. Look at the skeleton score and read through questions 18 to 21. 18 Complete the table below to show what each instrument plays in the printed passage. Instrument Music Clarinet Plays the printed melody … Plays strummed chords Guitar … … … [4]

9 0978/12/M/J/24 © UCLES 2024 [Turn over 19 Explain how the structure of the whole extract is typical of choro. … … … [2] 20 What other features of the extract are typical of choro? Do not repeat any information already given in your answers. … … … … [3] 21 Explain what is meant by the term ‘roda de choro’. … … [1]

10 0978/12/M/J/24 © UCLES 2024 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 22 to 28. Answer the questions in this booklet. 22 The melody is incomplete in bars 5–6. Fill in the missing notes on the stave below. The rhythm has been given to help you. [3] 23 (a) What instrumental family plays in bars 164–182? … [1] (b) Give a suitable term to describe the articulation in these bars. … [1] 24 What key does the music briefly modulate to in bars 21–22? Dominant Relative major Relative minor Sub-dominant [1]

11 0978/12/M/J/24 © UCLES 2024 [Turn over 25 Compare the music of bars 25–26 with 23–24, commenting on similarities and differences. … … … … [3] 26 Name the bracketed interval in bar 30. … … [2] 27 (a) Briefly explain what is meant by the term ‘neo-classical’. … … [1] (b) Explain which features of this extract are typical of neo-classical music. … … … … [3] 28 Who composed this music? Bach Mozart Poulenc Schumann [1]

12 0978/12/M/J/24 © UCLES 2024 SECTION D [16 marks] Set Work Answer all the questions on one set work: either Beethoven: Symphony No. 5 (questions 29 to 35) or Wagner: The Mastersingers of Nuremberg, Overture (questions 36 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 29 to 32. 29 How is the music in bars 1–11 different from how it was presented at the start of the movement (before the recorded extract)? … … … … [3] 30 (a) What instrument plays the cadenza in bar 21? … [1] (b) What is the tempo marking for this cadenza? … [1]

13 0978/12/M/J/24 © UCLES 2024 [Turn over 31 (a) What part of the recapitulation is heard from bar 49? … [1] (b) Why is this passage different from earlier? … … [1] 32 In which city was this symphony first performed? Berlin London Paris Vienna [1]

14 0978/12/M/J/24 © UCLES 2024 Music D2 Look at the skeleton score, which you will find in the separate insert, and read through questions 33 to 35. 33 On the stave below, write the first two notes of the viola part in bar 3 in the treble clef. &bbbb [2] 34 (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 symphony? … [1] 35 Describe the accompaniment in bars 223–31. … … … … [3]

15 0978/12/M/J/24 © UCLES 2024 [Turn over Wagner: The Mastersingers of Nuremberg, 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 38. 36 (a) What does the theme which is heard at the beginning of the extract represent? … [1] (b) How is it related to music heard earlier in the overture (before the recorded extract)? … … [2] (c) Describe the music which is played by the horns, violas and cellos at the same time as this theme. … … … [2] 37 What compositional device is heard in bars 18–21? … … [1] 38 Explain the concept of Wagner’s ‘unending melody’, referring to music in this extract. … … … [2]

16 0978/12/M/J/24 © UCLES 2024 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. Music D4 Look at the skeleton score, which you will find in the separate insert, and read through questions 39 to 42. 39 What is played by the strings in bars 43–62? … … … … [2] 40 On the stave below, write the first two notes of the viola part in bar 19 in the treble clef. & bbb [2] 41 Comment on the texture and use of themes in bars 17–24. … … … … [3] 42 What section of the overture is this extract? … [1]

This document consists of 6 printed pages. © Cambridge University Press & Assessment 2024 [Turn over Cambridge IGCSE™ (9–1) MUSIC 0978/12 Paper 1 Listening May/June 2024 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 2024 series for most Cambridge IGCSE, Cambridge International A and AS Level and Cambridge Pre-U components, and some Cambridge O Level components.

0978/12 Cambridge IGCSE (9–1) – Mark Scheme PUBLISHED May/June 2024 © Cambridge University Press & Assessment 2024 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 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.

0978/12 Cambridge IGCSE (9–1) – Mark Scheme PUBLISHED May/June 2024 © Cambridge University Press & Assessment 2024 Page 3 of 6 Question Answer Marks 1 An ascending interval followed by a descending scale 1 2 Recitative 1 3 Bass (accept baritone) 1 4 Andante / Moderato / Andantino 1 5 The chorus / many voices (represent a group of soldiers / warriors) [1]. It is loud [1]. The music is faster [1] and higher / has tenor voices [1] with a large rising interval [1] (representing raise / praise etc). Dotted rhythms [1] (representing praise / celebrate / military context). Use of horns / brass playing dotted / military rhythms. 3 6 Rossini 1 7 Recorder (accept wooden flute / baroque flute) 1 8 Imperfect 1 9 The rhythm is dotted / notes inégales 1 10 Sonata 1 11(a) Use of harpsichord (and cello) / (basso) continuo [1]. Ornamentation / trills [1]. Terraced dynamics [1]. The music is varied on the repeats [1]. Imitation between melody and bass [1]. Use of sequences [1]. It is a gavotte [1]. 3 11(b) Handel 1 12(a) Sarangi 1 12(b) It is a bowed string instrument 1 13(a) India 1 13(b) Texture of melody and drone [1] Rhythmically free in the first passage [1] Metrical in the second passage (accept explained ref. to tala) [1] A tabla plays [1] The music is improvised [1] 3 14 Dizi 1 15 The melody is doubled / played by all instruments in octaves [1] and played heterophonically (accept a description) [1]. 2 16 The opening section is at a slow / moderate tempo / the second part is much faster [1]. The metre is quadruple / duple [1]. 2 17 China 1

0978/12 Cambridge IGCSE (9–1) – Mark Scheme PUBLISHED May/June 2024 © Cambridge University Press & Assessment 2024 Page 4 of 6 Question Answer Marks 18 Cavaquinho [1] (plays strummed chords) (Guitar) plays a (walking) bass line / low countermelody [1] Pandeiro [1] plays a repetitive / rhythmic / ostinato accompaniment / maintains the pulse [1] 4 19 It is a rondo [1]. ABACA [1]. Each section is 16 bars long / the sections / phrases are of equal length [1]. The B and C sections are in contrasting keys (relative minor then subdominant) [1]. 2 20 In a simple key / G major [1]. Rondo episodes in contrasting keys (relative minor then subdominant) Note – only credit if not mentioned in Q19 [1]. 2/4 time [1]. Constant semiquaver movement [1]. Use of bandolim as a solo instrument [1]. 3 21 Choro circle [1]. A small / informal gathering of (amateur) musicians [1]. 1 22 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 23(a) Brass 1 23(b) Staccato / accented / marcato 1 24 Dominant 1 25 The melody is the same [1] but played lower / a descending sequence [1] and played by oboe / not clarinet [1]. 3 26 Perfect [1] Fourth [1] (fourth must be correct to get the mark for perfect) 2 27(a) ‘New’ classical music [1] i.e. music written in the modern era to sound old [1] 1 27(b) Extended passages of diatonic melody / harmony [1] contrasting with dissonant passages [1]. Regular phrase lengths [1]. Frequent changes of instrumentation [1] and heavy use of brass [1]. Abrupt modulations [1] to unrelated/distant keys [1]. Sudden changes in / wide range of dynamics / mood / character [1]. 3 28 Poulenc 1

0978/12 Cambridge IGCSE (9–1) – Mark Scheme PUBLISHED May/June 2024 © Cambridge University Press & Assessment 2024 Page 5 of 6 Question Answer Marks 29 (Bars 1 – 5 / the opening): It has been rescored / tutti / there are more instruments (accept named instruments) [1]. (Bar 6 onwards): The melody is not just in octaves / there are harmony notes (in the flutes/oboes) [1]. The clarinets and an oboe continue to play [1]. The bassoons have a more melodic role [1]. The first violins take more of the melodic material [1]. The violas play pizzicato with the cellos/basses [1] who are all pizzicato [1]. 3 30(a) Oboe 1 30(b) Adagio 1 31(a) Transition 1 31(b) It does not need to modulate 1 32 Vienna 1 33 One mark per note 2 34(a) Key: A flat (major) Cadence: perfect 2 34(b) Submediant 1 35 The melody is harmonised in thirds/sixths [1] and the violas have triplet staccato semiquaver [1] broken chords [1] while the cellos/basses have a pizzicato bass line [1]. Accept violins join for the ends of phrases [1]. The whole orchestra joins in (at bar 29) [1], ff [1]. 3 36(a) The guild (of mastersingers) 1 36(b) It is bar 2 of the opening / mastersingers theme [1] but extended / varied / developed [1] 2 36(c) They play a countermelody [1] which moves in contrary motion [1] and includes suspensions [1]. 2 37 Ascending sequence 1 38 Unending melody refers to phrases which are never resolved / completed [1]. In this extract it is shown by extension of themes [1], overlapping phrases [1] leading to contrapuntal textures [1], avoidance of cadences [1], and use of devices such as sequence [1]. 2 39 A variation of the Spring motif (violins) [1] played as an ascending sequence [1] accompanied by a descending and ascending chromatic scale (cellos) [1] 2

0978/12 Cambridge IGCSE (9–1) – Mark Scheme PUBLISHED May/June 2024 © Cambridge University Press & Assessment 2024 Page 6 of 6 Question Answer Marks 40 One mark per note 2 41 The derision motif is presented simultaneously with the Apprentices’ theme. This creates a contrapuntal texture like a double fugato with further imitative entries (e.g. moving from cellos, to violas to violins). The woodwind and strings swap roles in bar 23. A good understanding of both themes and texture [3] Some understanding of themes and/or texture [2] One valid point [1] 3 42 Development 1