Cambridge IGCSE Music (9-1) 0978 — 2025 May/June Paper 1 · Variant 2

This document has 20 pages. Any blank pages are indicated. [Turn over Cambridge IGCSE™(9–1) DC (IP) 355333 © UCLES 2025 * 9 6 9 2 3 2 3 3 8 7 * MUSIC 0978/12 Paper 1 Listening May/June 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 0978/12/M/J/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 accompaniment. The words are printed below. Read through Questions 1 to 5. [Piano introduction] Verse 1 1 Blow, blow, thou winter wind, 2 Thou art not so unkind 3 As man’s ingratitude; 4 Thy tooth is not so keen, 5 Because thou art not seen, 6 Although thy breath be rude. Chorus 7 Heigh-ho! sing, heigh-ho! unto the green holly: 8 Most friendship is feigning, most loving mere folly: 9 Then, heigh-ho, the holly! 10 This life is most jolly. Verse 2 11 Freeze, freeze, thou bitter sky, 12 That dost not bite so nigh 13 As benefits forgot: 14 Though thou the waters warp, 15 Thy sting is not so sharp 16 As friend remembered not. 1 Describe the music of the piano introduction. … … … [2] 2 Which of the following describes the melodic shape of line 1? Starts with an ascending octave, then moves in leaps Starts with an ascending octave, then moves by step Starts with an ascending fifth, then moves in leaps Starts with an ascending fifth, then moves by step [1] * 0000800000002 * ,










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3 0978/12/M/J/25 © UCLES 2025 [Turn over 3 In what ways is the music of the chorus different from verse 1? … … … [2] 4 Compare the music of verse 2 with verse 1. … … … [2] 5 What style of music has influenced this piece? Impressionism Jazz Minimalism Neo-classicism [1] * 0000800000003 * ,










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4 0978/12/M/J/25 © UCLES 2025 Music A2 You will hear an extract for instruments. Look at the skeleton score and read through Questions 6 to 9. 1 2 3 4 5 6 7 8 c & bbb & bbb Extract continues ... œ œ™œn 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™œ œ™ œ œ œ Œ 6 What is the key of the printed melody? … [1] 7 Describe the accompaniment in bars 1–6. … … … [2] 8 Describe the music which follows the printed passage, explaining how it is different from bars 1–8. … … … … [3] 9 (a) When was this music written? Baroque Classical Romantic Since 1900 [1] * 0000800000004 * ,










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5 0978/12/M/J/25 © UCLES 2025 [Turn over (b) Who composed it? Debussy Haydn Tchaikovsky Vivaldi [1] * 0000800000005 * ,










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6 0978/12/M/J/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 voices and instruments. Read through Questions 10 and 11. 10 Name the melody instrument which plays before the voices start singing. … [1] 11 (a) Where does this music come from? … [1] (b) What features of the vocal music heard in this extract are typical of this part of the world? … … … [2] (c) What features of the instrumental music are typical of this part of the world? … … … [2] * 0000800000006 * ,










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7 0978/12/M/J/25 © UCLES 2025 [Turn over Music B2 You will hear an extract for instruments. Look at the skeleton score and read through Questions 12 to 14. 24 & # & # & # Extract continues ... œ œ ‰ œJ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œJ œ™œJ œ œ œ ‰ œj œ œ œ ‰ œJ œ œ œj œ œj œ œ œ œJ œ œj œ œ œ œ œ œ œj œ œj œ œ œ œ œ œ œj œ œj œ œ œ œJ œ œj œ œ œ œ œ œ œj œ œj 12 (a) What instrument plays the printed melody? … [1] (b) How is it accompanied? … … … [2] 13 How is the music which follows the printed passage different? … … … [2] 14 Where does this music come from? … [1] * 0000800000007 * ,










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8 0978/12/M/J/25 © UCLES 2025 Music B3 (World Focus: Chinese music) You will hear three passages from a piece of Jiangnan sizhu music, separated by short gaps. The music of the first passage is printed. Look at the skeleton score and read through Questions 15 to 17. First passage: & ## & ## ¿ Œ ¿ Œ ˙ œ™ œJ œ™ œJ œ™ œJ ˙™ Œ œ™ œJ œ œ œ œ™œ œ œ œ œ œ œ™ œJ œ œ œ œ œ œ œ Œ 15 (a) Name the woodwind instrument which plays the melody in the first passage. … [1] (b) Identify and comment on the scale that is used for this melody. … … … [2] (c) Describe the texture of the music in this passage. … … … [2] 16 What other features of all three passages are typical of Jiangnan Sizhu music? Do not repeat any information already given in your answers. … … … … [3] * 0000800000008 * ,










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9 0978/12/M/J/25 © UCLES 2025 [Turn over 17 Briefly describe the context in which Jiangnan Sizhu music is typically performed. … … … [2] * 0000800000009 * ,










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10 0978/12/M/J/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 18 to 25. Answer the questions in this booklet. 18 Suggest a suitable Italian tempo marking for this music. … [1] 19 What compositional device is used in bar 11 and bar 68? … [1] 20 (a) What key is the music in at bar 25? … [1] (b) What is the relationship of this key to the extract as a whole? Dominant Relative minor Sub-dominant Tonic minor [1] 21 What instrument plays the melody in bars 273–34? … [1] * 0000800000010 * ,










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11 0978/12/M/J/25 © UCLES 2025 [Turn over 22 The melody is incomplete in bar 47. Fill in the missing notes on the stave below. The rhythm has been given to help you. [3] 23 Name the bracketed interval in bar 53. … … [2] 24 Briefly explain the structure of the extract, referring to bar numbers. … … … [2] 25 (a) When was this music written? Baroque Classical Romantic Since 1900 [1] (b) Give two reasons for your answer. … … … [2] (c) Who composed it? Brahms Mozart Purcell Stravinsky [1] * 0000800000011 * ,









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12 0978/12/M/J/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 39). 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 29. 26 Bars 03–27 repeat the opening theme of the movement. How has Beethoven changed the music of the opening theme in: (a) bars 03–92? … … … [2] (b) bars 93–191? … … … [2] 27 (a) What is the structure of this movement as a whole? … … [1] (b) From where in the movement is this extract taken? … [1] 28 Name the key at bar 28. … [1] * 0000800000012 * ,









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13 0978/12/M/J/25 © UCLES 2025 [Turn over 29 In which year did the first performance of this symphony take place? 1770 1792 1808 1827 [1] * 0000800000013 * ,









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14 0978/12/M/J/25 © UCLES 2025 Music D2 Look at the skeleton score, which you will find in the separate insert, and read through Questions 30 to 32. 30 (a) What section of the movement is the printed music from? … [1] (b) How does this music prepare for what is heard next? … … … … [3] 31 On the stave below, write the bracketed notes of the viola part in bar 18 in the treble clef. & [2] 32 (a) What thematic material is heard after the printed music? … [1] (b) What key is it in? … [1] * 0000800000014 * ,









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15 0978/12/M/J/25 © UCLES 2025 [Turn over 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 35. 33 Explain precisely what is played in bars 42–51. … … … [2] 34 (a) What section of the solo exposition begins in bar 24? … [1] (b) What key is it in? … [1] (c) What is the relationship of this key to the tonic key of the movement? … [1] 35 (a) What was different about the construction of the trumpet Haydn wrote this concerto for, compared with other trumpets at this time? … … [1] (b) Explain why the solo part in bars 1–12 could only be played on this new trumpet. … … … [2] * 0000800000015 * ,









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16 0978/12/M/J/25 © UCLES 2025 Music D4 Look at the skeleton score, which you will find in the separate insert, and read through Questions 36 to 39. 36 What do the violas play in bars 1–8? Alberti bass Dominant pedal Main melody Tonic pedal [1] 37 (a) What section of the orchestral exposition starts in bar 27? … [1] (b) Explain how the motif from bars 27–28 is used in bars 29–38. … … … … [3] 38 On the stave below, write the two bracketed notes of the trumpet part in bar 67 at sounding pitch. The key signature has been given. & bbb [2] 39 What is heard next in the movement (after the recorded extract)? Codetta Development Recapitulation Transition [1] * 0000800000016 * ,









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20 0978/12/M/J/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 * 0000800000020 * ,










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This document consists of 7 printed pages. © Cambridge University Press & Assessment 2025 [Turn over Cambridge IGCSE™ (9–1) MUSIC 0978/12 Paper 1 Listening May/June 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 May/June 2025 series for most Cambridge IGCSE, Cambridge International A and AS Level components, and some Cambridge O Level components.

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

0978/12 Cambridge IGCSE (9–1) – Mark Scheme PUBLISHED May/June 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

0978/12 Cambridge IGCSE (9–1) – Mark Scheme PUBLISHED May/June 2025 © Cambridge University Press & Assessment 2025 Page 4 of 7 Question Answer Marks 1 There is a lower / left hand fast / walking bass line [1] and higher / right hand syncopated / ascending / added note / blue note / seventh chords / chromatic ascending melody [1]. This riff / ostinato (accept repeated passage / repetitive melody etc) [1] is played four times [1] with a diminuendo [1]. The tonality is minor [1]. NOT swung. 2 2 Starts with an ascending fifth, then moves by step For braille candidates: accept D 1 3 The voices are in harmony / homophonic [1]. The singing is more syncopated [1]. The piano doubles the voices (accepts plays the same rhythm as the voices) [1]. It is higher / the melodic shape rises more [1]. Line 10 is unaccompanied / a capella [1]. 2 4 (The sopranos and altos) sing the same melody / the piano accompaniment is the same [1] but the tenors and basses / male voices sing a new / lower part / at the end of the line (accept countermelody / it is in 2 parts etc) [1] which uses shorter notes / scalic patterns / melisma [1]. 2 5 Jazz For braille candidates: accept B 1 6 C minor 1 7 There are short / detached (accept staccato) chords [1] played on each beat / in crotchets [1] (and an answering motif after four bars [1]). 2 8 The melody is played by violins / strings / not wind [1], and it is more flowing / legato [1]. There is a modulation to a major key [1] but then it immediately returns to the minor [1]. It is louder / the texture is fuller / more instruments play / the melody is doubled in octaves [1]. The accompaniment plays on each quaver beat (accept plays on the off-beat / is twice as fast / oom-cha etc) [1]. There is a short trumpet interjection (accept any description) every two bars [1]. 3 9(a) Romantic For braille candidates: accept C 1 9(b) Tchaikovsky For braille candidates: accept C 1 10 Balafon / xylophone (accept marimba) 1 11(a) Africa 1 11(b) Ref. to solo singer and group of singers [1]; with the group of (upper) voices singing in parallel [1] harmony [1]. There are repeated/ostinato phrases/ melodies [1]. NOT call and response. 2

0978/12 Cambridge IGCSE (9–1) – Mark Scheme PUBLISHED May/June 2025 © Cambridge University Press & Assessment 2025 Page 5 of 7 Question Answer Marks 11(c) There are (mainly) drums / percussion instruments [1] playing repetitive / ostinato patterns [1] creating polyrhythm [1]. NOT polyphonic. 2 12(a) Pan-pipes 1 12(b) Charangos [1] play strummed chords [1] and a drum is played on each beat [1]. NOT guitars. 2 13 The melody instrument changes (to flutes) [1] and the melody is doubled in thirds [1]. The melody is much higher [1] and more legato [1]. The chords change more quickly / the harmonic rhythm is faster [1]. 2 14 Latin America / Peru / Andes 1 15(a) Dizi 1 15(b) It is pentatonic [1] but makes use of passing / leading notes / tones [1]. 2 15(c) It is heterophonic [1]. The instruments play in octaves [1] with individual decoration / tremolo etc [1]. 2 16 The tempo increases with each passage [1] and the music is more complex / virtuosic [1] but the ending is in free time [1]. The music is in 4/4 / quadruple time [1] but the final section is in 2/4 metre [1]. The use of the ban (wooden clapper) to keep the beat [1]. A mix of string and wind instruments [1]. 3 17 The music is performed by amateur musicians (who play for recreation) [1]. Groups meet in tea-houses (and/or community centres) [1]. Members take it in turns to play / only one instrument is played at once [1]. 2 18 Allegro / vivace 1 19 Repetition 1 20(a) D minor 1 20(b) Tonic minor For braille candidates: accept D 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 (in context) OR general shape reproduced 1 Little melodic accuracy 0 3

0978/12 Cambridge IGCSE (9–1) – Mark Scheme PUBLISHED May/June 2025 © Cambridge University Press & Assessment 2025 Page 6 of 7 Question Answer Marks 22 For braille candidates: accept accurate description of the note pitch and values, according to the levels described in this table 23 Major [1] third [1] (third must be correct to get the mark for major) 2 24 It is ternary / ABA [1]. Section A: 1–24; Section B: (24/)25–57; Section A: (57/)58–81 / end [1]. OR: It is rondo / ABACABA [1]. Section A: 1–8; Section B: (8/)9–16; Section A: 17– 24; Section C: (24/)25–57; Section A: (57/)58–65; Section B: (65/)66–73; Section A: 74–81 / end [1]). 2 25(a) Classical For braille candidates: accept B 1 25(b) Small orchestra [1] dominated by strings [1]. Regular phrases [1]. Diatonic / functional harmony [1]. 2 25(c) Mozart For braille candidates: accept B 1 26(a) The second note is longer [1], it is more detached/there is use of rests [1], the answering phrase is by clarinets/bassoons/not strings [1]. 2 26(b) Cellos (accept basses) are pizzicato [1] and are doubled by bassoons [1]. The answering phrase is also pizzicato [1]. 2 27(a) (Loose) ternary form / scherzo-trio-scherzo(-link) / ABA (accept scherzo and trio) 1 27(b) Second scherzo section / second A section 1 28 F minor 1 29 1808 For braille candidates: accept C 1 30(a) Development 1 30(b) Dominant preparation [1] with a pedal note [1] and inverted pedal [1] and the dominant chord [1]. (Allow reference to diminished seventh [1].) 3 31 One mark per note For braille candidates: accept accurate description of the note pitch and value for each note 2

0978/12 Cambridge IGCSE (9–1) – Mark Scheme PUBLISHED May/June 2025 © Cambridge University Press & Assessment 2025 Page 7 of 7 Question Answer Marks 32(a) (Material from) the scherzo/3rd movement 1 32(b) C minor 1 33 The wind / flutes imitate / repeat the music / melody from the previous bar [1] an octave higher [1]. 2 34(a) Second subject 1 34(b) B flat (major) 1 34(c) Dominant 1 35(a) It had keys 1 35(b) It uses stepwise [1] and chromatic [1] movement, which would not have been possible (in this register) on a natural trumpet which only had access to the notes of the harmonic series [1]. 2 36 Tonic pedal For braille candidates: accept D 1 37(a) Second subject 1 37(b) It is repeated twice [1] (the third playing is piano [1]); then it is played in diminution [1] starting on different pitches [1] for three bars; this is then repeated [1]. 3 38 One mark per note For braille candidates: accept accurate description of the note pitch and value for each note 2 39 Transition For braille candidates: accept D 1