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CAMBRIDGE INTERNATIONAL EXAMINATIONS
0410 MUSIC
0410/01
Paper 1 (Listening), maximum raw mark 70
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 will not enter into discussions about these mark schemes.
Cambridge is publishing the mark schemes for the May/June 2013 series for most IGCSE, GCE
Advanced Level and Advanced Subsidiary Level components and some Ordinary Level components.
om
.c
MARK SCHEME for the May/June 2013 series
s
er
International General Certificate of Secondary Education
Page 2
Mark Scheme
IGCSE – May/June 2013
Syllabus
0410
Paper
01
Music A1
1
What is the solo instrument in this extract?
[1]
Oboe
2
(a) How many beats are there in each bar?
[1]
3
(b) What would be a suitable Italian term for the tempo of this extract?
[1]
Moderato / Andante
3
Which of the following compositional devices is prominent during the second half of the
extract?
[1]
Ascending sequence
4
What type of piece is this extract taken from?
[1]
Sonata
5
(a) Which period of music is this extract from?
[1]
Baroque
(b) Give two reasons for your answer.
Harpsichord [1] continuo [1]. Ornamentation / trills [1]. Use of sequence [1]. Hemiola [1].
© Cambridge International Examinations 2013
[2]
Page 3
Mark Scheme
IGCSE – May/June 2013
Syllabus
0410
Paper
01
Music A2
6
How is the music of the instrumental introduction used later in the extract?
[2]
Arpeggios/broken chords (accept Alberti bass) are used later in the accompaniment [1] at half
speed (or equivalent description) [1]. The technique of ostinato is used later [1]. The melody
(played by the cello (accept violin)) at the end of the introduction is sung in line 1 (and) line 3 [1].
Reference to voice taking over melody [1]. Reference to woodwind taking over piano melody [1].
Opening chord used again at the end [1].
7
(a) Describe the texture of the vocal music in line 1.
[1]
It is monophonic / unison [1]. Only the sopranos / altos / female voices sing [1].
(b) How does the texture of the vocal music change in line 2?
[1]
It is in parts / homophonic / in harmony / in chords / same melody at different pitches [1]. The
tenors / basses / men join in [1].
8
What instrumental family plays between lines 2 and 3?
[1]
(Wood)wind
9
(a) Which period of music is this extract from?
[1]
Twentieth Century / Modern
(b) Give one reason for your answer.
[1]
Use of piano in orchestra [1]. Ostinato [1]. Chromatic / dissonant harmony [1]. Angular /
chromatic melody [1]. Extremes of register / very high clarinet / cello [1]. Regular phrase
lengths [1].
10 Who do you think composed this music?
Stravinsky
© Cambridge International Examinations 2013
[1]
Pa
age
e4
M
Marrk Sc
Sche
eme
e
IG
GCSE
E – May//Ju
une
e 201
2 13
S
Sylllab
bus
s
04
410
0
Pape
P
er
0
01
Mu
usic B1
11 Wh
Whatt is
s th
he strruc
ctu
ure off th
he ex
xtra
act?
[1]
AA BB C
AA
CC
C AA
A
12
2 T
The firs
f st phr
p ras
se, A,, is
s play
yed
do
onc
ce and the
t en im
mme
ediattely
y re
epea
ated
d. In wh
whatt w
way
ys is
i it
i
d fferren
dif
nt on
o the rep
r pea
at?
?
[2
2]
Vio
V
olin
ns p
pla
ay the
t e melo
m ody
y [1
1] insttea
ad of trump
petts. (Th
he tru
umpe
ets//accomp
pan
nim
men
nt play
p y) a cou
c unte
er-melod
me
dy / diffe
d ere
ent / n
new
w mel
m lod
dy [[1] ba
ase
ed on
o a risi
r ng sc
cale
e [1].
13
3 De
Desc
crib
be the
e te
extturre of
o the
e mu
music
c in
n phr
p ras
se B.
B
[2
2]
The
T
ere
e iss a melo
ody
y do
ouble
ed (in
( thirds) / para
alle
el har
h rmo
ony
y / two
o in
nsttrume
ents in
n har
h mo
ony
y [1
1] with
w ho
offb at / syync
bea
cop
patted
d ch
horrds
s[1]] an
nd a mo
ovin
ng / w
walkin
ng bas
ss line [1]
[ ma
aking a ho
omo
oph
hon
nic
c / me
melod
dy
a d acc
and
a com
mpa
aniime
entt te
extu
ure
e [1
1].
14
4 O
On
n th
he sta
ave
e belo
b ow
w, add
a d th
he arrtic
culation
nm
marrkin
ngs tha
t at you
y u hea
h ar in the
t e firstt bar of ph
hra
ase
e
[1]
B
B.
Accep
A
pt sslu
ur only
o y or
o sstac
cca
ato
o on
nlyy if in the
t e co
orrrec
ct plac
p ce.
O:
Or:
15
5 Wh
Wherre d
do
oes
s th
his mus
sic co
ome ffrom?
?
L tin Am
Lat
merica / So
outth Am
Amerrica
a / Me
exic
co (ettc.)
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[1]
Page 5
Mark Scheme
IGCSE – May/June 2013
Syllabus
0410
Paper
01
Music B2
16 What is the name of this type of instrumental ensemble?
[1]
Gamelan
17 Apart from the instruments that are used, in what ways is the music heard in this extract
typical of the music played by this type of ensemble? You may wish to refer to tempo,
texture and dynamics in your answer.
[3]
The music starts with monophonic texture [1] but then other instruments join in and it becomes
heterophonic [1] with some instruments playing each main melody note twice / decorating the
melody [1]. The tempo varies (considerably) (accept description of tempo changes [1]) and there
are (sudden) dynamic changes (accept description of dynamic changes[1].)
18 Where does this music come from?
[1]
Indonesia / Bali / Java
Music C1
19 Name the bracketed interval in bar 9.
[1]
Minor sixth
20 (a) In which bars has the music played by the cello in the passage from bars 21 – 25 been
heard before?
[1]
Bars 17 to 18 / 19 / 20
(b) Describe one way in which the music of this passage is different.
[1]
It (the cello melody) is (an octave) lower [1]. The sequence has been extended [1]. The viola
plays in sixths / harmony [1]. The violins now play the original cello part [1].
21 (a) Name the key in bars 35 – 41.
[1]
D minor
(b) What is the relationship of this key to the tonic key of the Minuet?
Relative minor (accept submediant)
© Cambridge International Examinations 2013
[1]
Pa
age
e6
M
Marrk Sc
Sche
eme
e
IG
GCSE
E – May//Ju
une
e 201
2 13
S
Sylllab
bus
s
04
410
0
Pape
P
er
0
01
22
2 T
The me
melod
dy is in
nco
omple
ete
e in
n ba
ars
s 46
4 – 48.
4 Fill in the
t em
missin
ng no
ote
es on
o the sta
s ave
e belo
ow
w. T
The
e
r yth
rhy
hm ha
as be
een
n give
en to he
elp
p yo
ou.
[3
3]
E irelly cor
Enti
c rrec
ct o
or 1 erro
e or
3
4 co
orre
ectt no
ote
es
3 co
orre
ectt no
ote
es iin the
t e co
onttexxt of
o a co
orre
ectt melo
m odiic sha
s ape
e (a
all
a endin
asce
ng an
a dd
des
sce
end
ding
gm
movem
me
ent mustt be
e corr
c rrecct)
2
3 co
orre
ectt no
ote
es b
butt with
w an
n in
nco
orre
ectt melo
m odiic sha
s ape
e
2 co
orre
ectt no
ote
es O
OR
R genera
al m
me
elod
dic sh
hap
pe rep
r pro
odu
uce
ed
1
L e me
Little
m lod
dic acccu
urac
cy
0
23
3 Wh
Whatt fe
eature
es off th
he mu
usiic in
i tthis ext
e tract are
e cha
c ara
acte
eristiic of
o aM
Min
nue
et an
a dT
Trio?
?
[3
3]
3 / 4 tim
t me [1]
[ . Mod
M derrate
e te
em
mpo
o [1]. Te
T rna
ary
y/A
ABA for
f m [1] wiith ind
dividu
ual bin
narry / A
AB sec
s ctio
ons
s [1
1]
w ich
wh
h are usua
ally repeate
ed [1]. C
Con
ntra
astting
g trrio / Trio
T o in diffe
eren
nt key
k y [1
1].
24
4 Wh
Who do
o you
u th
hink c
com
mp
pos
sed
d this
s mus
m sic
c?
[1]
Haydn
Ha
Mu
usic D1
25
5 (a)
(
What is the me
Wh
melod
dy in
nstrrum
me
ent in th
his ex
xtra
actt?
[1]
S ran
Sar
ngi
( ) How
(b)
H w is
i the
t e sou
und
d pro
p du
uce
ed on
o th
his instrrum
ment?
?
[1]
Itt iss a bo
owe
ed [1]] sttring instru
ume
entt.
26
6 Wh
Whatt is
s th
he ge
ene
era
al nam
n me off th
he rhy
r yth
hmic cy
ycle
e hea
h ard
d in
n th
his ex
xtra
act?
[1]
T la / ta
Ta
al
27
7 (a)
(
Which
Wh
h sec
s ctio
on off th
he mu
music is this
t s ext
e rac
ct tak
t ken
n frrom
m?
?
[1]
J ala
Jha
( ) Giv
(b)
G ve two
t o rea
r aso
ons
s fo
or yo
your an
nsw
wer.
Itt iss fa
ast / virtu
v uossic [1]]. The
T e rh
hytthm
m is
s re
egu
ula
ar / the
ere
e iss a strron
ng pu
p lse
e [1]. Ta
T bla
a / dru
d ums /
p rcus
per
ssiion
n [1] a
are pla
ayiing
g.
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amb
brid
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xam
mina
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ons
s 20
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[2
2]
Page 7
Mark Scheme
IGCSE – May/June 2013
Syllabus
0410
Paper
01
Music D2
28 Describe the texture of the music in the first section of the extract (before the percussion
instrument enters).
[3]
There is a drone [1] and a voice / singer / vocal melody [1] which is doubled / imitated /
heterophonically [1] by the sarangi.
29 In what ways is the melody of the music in the first section of the extract (before the
percussion instrument enters) typical of Indian Music?
[2]
It is a raga [1] which ascends and descends [1] with a different pattern of notes [1] in free time [1].
It is ornamented / there is pitch-bending / meend (a glide from one note to another) [1].
30 What is the name of the percussion instrument?
[1]
Tabla
Music D3
31 Name the instrument heard in the extract.
[1]
Sheng
32 How is the sound produced on this instrument?
[2]
Pipes [1] and reeds [1] are blown [1]
33 Which of the following features is heard in this extract?
[1]
Parallel motion
34 Describe the tempo of the extract.
[2]
It starts slowly / moderately [1], (gradually)speeds up [1] then slows down [1].
Music D4
35 What is the first instrument that you hear?
Pipa (accept ch’in / qin / guzheng)
© Cambridge International Examinations 2013
[1]
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Mark Scheme
IGCSE – May/June 2013
Syllabus
0410
Paper
01
36 Describe the music played by this instrument in the opening section (until the entry of the
second instrument).
[2]
It begins with a repeated note / trill / tremolo [1] followed by a scale/arpeggio/glissando [1], a
rapidly repeated note [1] and a few single notes [1]. (Maximum [1] for a general answer which
covers some points but does not accurately describe the music)
37 Name the second instrument heard in the extract.
[1]
Dizi (accept hsaio / xiao or ti-tzu)
38 Apart from the instruments that are used, in what ways is the music in this extract typical
of Chinese music?
[2]
Heterophonic /different versions of the same melody [1]. Use of tremolo / trill / pitch bending
/sliding /glissando / vibrato /ornamented [1]. Pentatonic scale [1].
Music E1
39 (a) What does the theme heard at the beginning of this extract represent in the story of
Romeo and Juliet?
[1]
The feud / fighting / conflict (etc) between the Montagues and Capulets
(b) What key is this theme in?
[1]
B minor
40 What do the bass instruments play in bars 4 – 5?
[1]
An inversion of the violins in bar 4 (accept descending scale or inversion of A2)
41 The music of bars 11 – 14 is all based on the same motif. Where is this motif taken from?[1]
The end of the first bar of the M and C theme (accept A4) [1]
42 (a) What do the bass instruments play starting in bar 153?
[1]
The (main) theme or melody / first subject / A1
(b) Which of the following terms describes the relationship between the bass instruments
and the woodwind instruments in the passage immediately following the printed
extract?
[1]
Imitation
© Cambridge International Examinations 2013
Pa
age
e9
M
Marrk Sc
Sche
eme
e
IG
GCSE
E – May//Ju
une
e 201
2 13
S
Sylllab
bus
s
04
410
0
Pape
P
er
0
01
43
3 De
Desc
crib
be wh
hatt ha
appe
ens
s in
n th
he ov
verrturre imme
ediiately
ya
afte
er the
t e re
eco
ord
ded
d extr
e rac
ct.
[2
2]
The
T
e (ma
( ain) th
hem
me
e / ffirs
st sub
s bjec
ct ((etc) is pla
p aye
ed aga
a ain
n [1
1] b
but ev
ven
n lo
oud
derr / wit
w h mo
more ins
stru
um
men
nts /
f orrch
full
hes
stra
a / tutt
t ti / bra
ass
s [1
1]
44
4 Wh
Whic
ch s
sec
ction
n off th
he wh
holle ov
overtturre is
i thi
t s ext
e trac
ct tak
ken
n from
m?
?
[1]
F st sub
Firs
s bje
ect / th
hem
me
e (a
acc
cep
pt exp
e pos
sitio
on but not be
egin
nning)
Mu
usic E2
2
45
5 Wh
Whic
ch o
of the
e fo
ollow
win
ng ter
t rms
sd
des
scrribe
es the fun
f ncttion
no
of the
t e firstt m
melod
dy not
n te in ba
ar 1?
1
[1]
A poggiattura
Ap
a
46
6 (a)
(
Wh
W
hat do
oes
s the
t e th
hem
me
e hea
h ard att th
he be
egiinn
ning of this ex
xtra
actt re
eprres
sen
nt in th
he sto
s ory
y of
o
R me
Rom
eo an
nd Ju
J liet?
[1]
T e lo
The
ove
e be
etw
wee
en Ro
om
meo
o an
nd Ju
uliet (a
acccep
pt Lov
L ve the
eme)
( ) Wh
(b)
What ke
ey is thi
t is the
t eme in?
?
[1]
D (m
ma
ajorr)
(
(c)
Wh
W
hat ke
ey wa
as th
he them
me in th
he firrst tim
me
e itt was
w s hea
h ard
d in
n tthe
e mov
m vem
me
entt (b
befforre the
e
r cord
rec
ded ext
e tract))?
[1]
D flat (m
majo
or)
( ) In
(d)
nw
what other w
way
ys is this the
em
me no
ow diffferen
nt?
?
3]
[3
It sta
s arts
s with
w h an a
app
pog
ggiiatu
ura
a [1
1]. It is mu
uch
h lo
oud
derr [1
1]. Mo
ore
e in
nstrrum
men
nts
s / full orch
o hes
stra
ap
play
y
[1]]. Itt is
s acco
om
mpa
anie
ed wiith trip
ple
et cho
c ords / ac
cco
ompanie
ed by
y woodw
wind
d [1]. Th
hem
me
e is
s pllay
yed
d by
y
the
e sstrin
ngs
s / no
ot p
play
yed
d by
b the
t e co
or ang
a gla
ais [1]. Sigh
S hin
ng ffigu
ure
e / cou
c untterme
elod
dy in the
e hor
h n [1].
47
7 O
On
n th
he sttav
ve be
elow
w, write
e out
o t th
he firrstt tw
wo no
ote
es off th
he ho
orn
n p
parrt in ba
b r 2
24 at so
oun
nding
g
p tch
pit
h. T
The
e key sign
nature
e has
h s been giv
g ven
n.
[2
2]
One ma
On
mark pe
er not
n te
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amb
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nterrnattion
nal Ex
xam
mina
atio
ons
s 20
013
3
Pa
age
e 10
0
M
Marrk Sc
Sche
eme
e
IG
GCSE
E – May//Ju
une
e 201
2 13
S
Sylllab
bus
s
04
410
0
Pape
P
er
0
01
Mu
usic E3
3
48
8 Na
Name
e the ke
ey an
nd c
cad
denc
ce in
i b
bar 8.
8
[2
2]
Key: A ((ma
K
ajo
or)[1]
Cade
Ca
encce: Im
mpe
erfe
ect [1]]
49
9 Wh
Whic
ch iins
stru
um
men
nt d
doub
bles
s the melo
m ody
y in b
barrs 84 – 16
1 1?
[1]
((1st) Bas
B sso
oon
n
50
0 Wh
Whatt kiind
d of
o sca
s ale is he
earrd in ba
ar 25?
2 ?
[1]
A cen
Asc
nding
g ch
hro
oma
aticc sca
s ale
51 Th
T e me
melod
dy fro
om
mb
bars
s 19
1 – 22
2 is he
eard
d aga
a ain
n in
n bars
b s2
26 – 32.
3 Ho
ow
w has it be
een
n altered
d?
2]
[2
IIt has
h s been ext
e tende
ed by
b rep
pettitio
on.. Bar 20
0 iss re
epe
eated tw
wice
e fo
ollo
ow
wed
d by
y bar
b 21
1o
onc
ce. (Allow
wo
one
e
mark for a ge
ma
ene
era
al a
ans
swe
er of
o rep
r petiitio
on, two ffor furrthe
er reffere
enc
ce to de
etaiil of
o wha
w at iss repeated
d).
52
2 O
On
n th
he sta
ave
e bel
b ow
w, wri
w ite ou
ut tthe
e tw
wo
o cllarrine
et par
p rts
s att bar 31
1, bea
b at 1 at
a sou
s und
din
ng pittch
h. T
The
e
k y sig
key
s na
aturre ha
as b
bee
en giive
en.
[2
2]
One ma
On
mark pe
er not
n te
53
3 Wh
Whatt ha
appe
ens
s in
n th
he mo
ovem
men
nt im
i me
ediiate
ely
y affte
er the
e prrinted
d ext
e trac
ct?
?
[1]
S lo pia
So
ano
o ente
ers [1] with
w h th
he (se
eco
ond
d) exp
e possitio
on [1]]. Itt pllay
ys the
t e main
m n th
hem
me
e firrst subje
ect [1].
Mu
usic E4
4
54
4 Th
T is ex
xtra
actt is
s ta
ake
en fro
f om th
he rrec
cap
pitu
ula
atio
on.. Des
D scrribe the
t e diiffe
ere
enc
ces
s betw
b we
een
n:
( ba
(a)
ars
s 1 – 8 and
a d tthe
e co
orrres
spo
ond
din
ng pa
art in the
e firs
f st (orc
che
esttra
al) e
expo
osittion
[1]
T ere
The
e arre add
a ded
d woo
w odw
win
nd parts
s (a
acc
cep
pt flute
e or
o clar
c rine
et) [1]]
( ) bar
(b)
b rs 13
1 – 15
1 an
nd the
e cor
c rres
spon
nding
g po
oin
nt in
i the
t e sec
con
nd (so
olo
o) exp
e pos
sitiion
n
[1]
The
T
ere
e are no
ow sc
cale
es in bo
oth ha
and
ds [1] / th
here
e are
a e no lon
l nge
er ccho
ord
ds in the
e le
eft ha
and
d [1] /
s ales
sca
s are no
ow pla
aye
ed in 10tths
s [1
1]
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amb
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dge
e In
nterrnattion
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xam
mina
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ons
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3
Page 11
Mark Scheme
IGCSE – May/June 2013
Syllabus
0410
55 Which cadence is used in bar 4?
Paper
01
[1]
Plagal
56 In bar 8 the flutes, 1st bassoon and 1st violins play a fragment of a chromatic scale. Which
instrument imitates this in the second half of the bar?
[1]
Cellos
57 The bassoon part in bar 16 is marked a2. What does this mean?
[1]
Both bassoons should play the same notes.
58 In bars 23 – 25 the melody and harmony have been changed from the equivalent passage
earlier in the movement. Why is this the case?
[2]
So that the music can remain in the tonic [1] instead of modulating to the dominant [1]. (Allow [1]
for a more general understanding of the principle, but perhaps with wrong keys mentioned).
59 Describe in detail the relationship of the piano part to the music of the orchestra at bars
26 – 29.
[2]
Bars 26-27:
There is a (dominant) pedal in the piano part and the lower strings [1] OR left hand of the piano is
doubled by lower strings [1]. The piano plays arpeggiated / broken chords while the orchestra
plays block chords [1].
Bars 28-29:
Woodwind double the left hand of the piano [1]. The piano plays arpeggiated / broken chords
while the orchestra plays block chords [1].
(Allow [1] for a more general answer, e.g. piano and orchestra / woodwind / strings double the
melody)
© Cambridge International Examinations 2013