Scheme of work
Cambridge IGCSE®
Music (US)
0429
Scheme of work – Cambridge IGCSE® Music (US) 0429
Contents
Overview ..................................................................................................................................................................................................................................................... 3
Unit 1: General listening skills ................................................................................................................................................................................................................. 7
Unit 2: Music in the Classical period ....................................................................................................................................................................................................... 9
Unit 3: Music in the Romantic period .................................................................................................................................................................................................... 12
Unit 4: Baroque music ............................................................................................................................................................................................................................ 15
Unit 5: Twentieth-century music ............................................................................................................................................................................................................ 18
Unit 6: World music (general) ................................................................................................................................................................................................................. 21
Unit 7: World focus and Set Work.......................................................................................................................................................................................................... 26
Unit 8: Performing (ongoing) .................................................................................................................................................................................................................. 28
Unit 9: Composing (ongoing) ................................................................................................................................................................................................................. 29
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Scheme of work – Cambridge IGCSE® Music (US) 0429
Overview
This scheme of work provides ideas about how to construct and deliver a course for teaching Cambridge IGCSE Music (US) 0429. The 2015 syllabus has been
broken down into nine units with suggested teaching activities and learning resources to use in the classroom. The three core musical skills (performing, composing
and listening) are, for pragmatic reasons, assessed as separate components in the IGCSE course, but their interdependence cannot be overemphasised: music is
composed so that others may perform it and audiences may listen to it. Composers in turn listen to other people’s music to inform their own creative decisions.
Performers must listen critically to themselves to improve their accuracy and style, and to others to improve their sense of ensemble. Listening to music is enhanced
by an understanding of its context and an awareness of how it has been composed and performed. Teachers should therefore seek to make links wherever possible
between the different components in the syllabus. In particular, there are a number of musical features which are found in music of all periods and from around the
world: these are addressed in Unit 1: General listening skills, but it is expected that they will be incorporated in all areas of the course.
Recommended prior knowledge
Learners embarking on this Cambridge IGCSE Music course will be required to perform, compose and listen to music, and they should therefore have an active
interest in a range of musical activities. Most learners would normally have some prior experience of either playing an instrument or singing; however, the syllabus
does not specify any minimum standard for the level of performing, as the music that is performed is chosen by the learner, and should be appropriate for their own
level of musical and technical competence at the time of assessment (although the mark awarded for performing will be related to the skills demonstrated). It would
be helpful (although not essential) for learners if their school music curriculum, before embarking on this Cambridge IGCSE course, had included some exposure to
composing (perhaps in a small group, not necessarily individually). The listening and composing components of the course will require an ability to read and write
musical notation; most learners would normally be able to read music before starting the course and this scheme of work assumes that they can: if they can’t, this
skill should be taught as quickly as possible in the early stages of the course.
Outline
In this scheme of work, the listening component is mainly divided into units based around repertoire from different musical periods or areas of the world. However,
there are certain musical features which are found in all music, and these are described in Unit 1, which should be seen as an ongoing (rather than self-contained)
unit. For the western music topics, three or four representative works have been suggested which between them cover all of the styles and genres listed in the
syllabus, but learners should be encouraged to listen to further examples of each. In a number of cases extra repertoire is suggested under the heading ‘comparing
different styles’; it is important that learners understand that concertos, for example, are found in all music periods, even if your teaching focuses in detail on a
concerto from the baroque era only. Teachers will note that the units are not strictly chronological; for many learners the classical and romantic styles may be the
most accessible at the beginning of the course, but teachers should feel free to teach the units in chronological order if they prefer. Units 8 and 9 are concerned with
the performing and composing components; these should be seen as ongoing skills which are developed throughout the course.
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The units within this scheme of work are:
Unit 1: General listening skills (ongoing)
Unit 2: Music in the Classical period
Unit 3: Music in the Romantic period
Unit 4: Baroque music
Unit 5: Twentieth-century music
Unit 6: World music (general)
Unit 7: World focus and Set Work
Unit 8: Performing (ongoing)
Unit 9: Composing (ongoing)
Differentiation
Opportunities for differentiation are indicated throughout the scheme of work where activities are labelled as basic or challenging. Timings for activities and
feedback are left to the judgement of the teacher, according to the level of the learners and size of the class. Length of time allocated to a task or activity is another
possible area for differentiation.
Formative assessment
Opportunities are indicated throughout the scheme of work.
Teacher support
Teacher Support is a secure online resource bank and community forum for Cambridge teachers. Go to http://teachers.cie.org.uk for access to other resources
including a discussion forum for teachers of music. Syllabus 0429 runs parallel to syllabus 0410 Cambridge IGCSE Music, with the same content and assessment
structure. 0410 past question papers with accompanying CDs are available from Cambridge Publications at www.cie.org.uk/profiles/teachers/orderpub (although
please note that the structure of past papers will be slightly different from the revised 2015 paper, although the style of questions will largely be similar). We also
offer online and face-to-face training; details of forthcoming training opportunities are posted online.
An editable version of this scheme of work is available on Teacher Support. The scheme of work is in Word doc format and will open in most word processors in
most operating systems. If your word processor or operating system cannot open it, you can download Open Office for free at www.openoffice.org
Resources
An up-to-date resource list for Cambridge IGCSE Music, syllabus 0429, can be found at www.cie.org.uk
Book:
Sharma, E Music Worldwide Cambridge University Press, UK ISBN: 9780521376228; Accompanying CD ISBN: 9780521374811
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Teachers’ Guide to Prescribed Works:
www.cie.org.uk/qualifications/academic/middlesec/igcse/subject?assdef_id=875
Specimen question paper (2015):
To access the specimen materials for the 0429 syllabus, please go to the web page for Cambridge IGCSE Music, syllabus code 0410 from Teacher Support at
http://teachers.cie.org.uk The CD is available for loan from Cambridge Publications at www.cie.org.uk/profiles/teachers/orderpub
Recordings:
A recording of the following pieces will be needed; at the time of writing all could be found online free of charge, or individual tracks could be purchased from a
supplier such as iTunes. If using online recordings, please adhere to any copyright regulations applicable to your region.
Beethoven: Funeral March from Symphony No. 3, Eroica
Chopin: Étude in E, Op. 10. No. 3
Debussy: Prélude à l’après-midi d’un faune
Gershwin: I got rhythm
Handel: Behold, a virgin shall conceive and O Thou that tellest good tidings to Zion from Messiah
Haydn: Minuet and Trio (Poco allegretto) from String Quartet in B flat, Op. 50, No. 1
Johann Strauss: Roses from the South
Mendelssohn: A Midsummer Night’s Dream, Overture Op. 21 OR Rodrigo: Concierto de Aranjuez (Movements 1 and 2) – Set Works for 2015: Set Works change
regularly so please check syllabus for the year the candidates will be taking the examination.
Mozart: Allegro from Piano Sonata in C, K. 545
Mozart: Rondo from Horn Concerto No. 4
Prokofiev: Allegro from Symphony No. 1, Classical
Purcell: Ah, Belinda from Dido and Aeneas
Reich: Six Pianos
Vivaldi: Autumn from The Four Seasons
Scores:
Please note: not all of the recordings listed above are available online because of copyright.
http://petrucci.mus.auth.gr/imglnks/usimg/6/6e/IMSLP00608-Beethoven_-_Symphony_No.3_Mov_2.pdf
http://petrucci.mus.auth.gr/imglnks/usimg/a/a2/IMSLP00307-Chopin_-_OP10_3.PDF
http://petrucci.mus.auth.gr/imglnks/usimg/4/40/IMSLP14736-Debussy_-_Pr__lude____l_apr__s-midi_d_un_faune__orch._score_.pdf
http://javanese.imslp.info/files/imglnks/usimg/4/47/IMSLP11182-Handel_Messiah_No.8_Behold_No.9_O_Thou_That_Tellest.pdf
http://conquest.imslp.info/files/imglnks/usimg/f/ff/IMSLP05805-Haydn_-_Op._50__No._1.pdf
http://petrucci.mus.auth.gr/imglnks/usimg/6/6f/IMSLP64335-PMLP22613-Strauss__Johann_-_Roses_in_the_South__Op._388__orch._score_.pdf
http://conquest.imslp.info/files/imglnks/usimg/a/a6/IMSLP27213-PMLP60228-Mendelssohnop21fullscore.pdf
http://petrucci.mus.auth.gr/imglnks/usimg/a/a9/IMSLP56442-PMLP01855-Mozart_Werke_Breitkopf_Serie_20_KV545.pdf
http://petrucci.mus.auth.gr/imglnks/usimg/1/17/IMSLP36466-PMLP05472-Purcell-Z626vsNov.pdf
http://javanese.imslp.info/files/imglnks/usimg/4/42/IMSLP11099-AutumnScore_Vivaldi.pdf
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Key Signature Chart:
http://musicmattersblog.com/wp-files/KeySignatureChart.pdf
Four Seasons poem:
http://inkpot.com/classical/vi4sonnets.html
Impressionist painting:
www.nationalgallery.org.uk/paintings/claude-oscar-monet-the-gare-st-lazare
Websites:
This scheme of work includes website links providing direct access to internet resources. Cambridge International Examinations is not responsible for the accuracy
or content of information contained in these sites. The inclusion of a link to an external website should not be understood to be an endorsement of that website or
the site's owners (or their products/services).
The particular website pages in the learning resource column of this scheme of work were selected when the scheme of work was produced. Other aspects of the
sites were not checked and only the particular resources are recommended.
www.bbc.co.uk/orchestras/learn/guidetotheorchestra/
www.bbc.co.uk/schools/gcsebitesize/music/music_20th_century/reich1.shtml
www.bbc.co.uk/schools/gcsebitesize/music/world_music/
www.classicsforkids.com/shows/genre_baroque.asp
www.classicsforkids.com/shows/genre_classical.asp
www.classicsforkids.com/shows/genre_impressionist.asp
www.classicsforkids.com/shows/genre_romantic.asp
www.wcsmusic.org.uk/modules.asp
www.wcsmusic.org.uk/modulegamelan.asp
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Scheme of work – Cambridge IGCSE® Music (US) 0429
Unit 1: General listening skills
Context
This unit is ongoing and should be seen as integral to all areas of the course.
Outline
This unit describes some teaching strategies for developing general listening skills throughout all areas of the Cambridge IGCSE Music course.
Syllabus reference
Suggested teaching activities
Learning resources
Content of Component 1
Rudiments
There are certain combinations of musical features that allow us to identify music as coming from
different points in time or from different places in the world, and these are explored in Units 2–6.
However, no matter where or when it comes from, virtually all music consists of melody, rhythm,
structure and texture and is performed by ensembles and instruments or voices. Much of the music
your learners will be listening to will also contain examples of the harmony, instrumental and/or vocal
effects and compositional devices that are listed in the syllabus and learners should be given regular
practice throughout the course in identifying these in a range of music from different times and places.
Specimen paper 1 – available at
http://teachers.cie.org.uk
Melody and rhythm
Harmony
Ensembles and
instruments/voices
Instrumental and/or vocal
effects
Developing these general listening skills could form an integral part of every listening lesson. For
example, you could start each lesson by focusing on the main melody of the music that you are going
to be exploring. You could play this melody to the class, either in its original form from a recording, or
just the melody line on its own played on an instrument. You could ask your learners to describe the
melodic shape and metre:
Specimen paper 1 CD –
available from Cambridge
Publications at
www.cie.org.uk/profiles/teacher
s/orderpub.
Key Signature Chart:
http://musicmattersblog.com/wp
-files/KeySignatureChart.pdf
Structure
Compositional devices



Does it move mostly by step or leap?
Do the intervals ascend or descend?
How many beats are there in each bar/measure?
Texture
This could then lead into regular practice of melodic or rhythmic dictation (in preparation for Section C
of the examination). You could write out the main melody but leaving some notes out.

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As a basic activity, just leave out one or two notes at a time in a passage which moves by
step or contains repeated notes.
Cambridge IGCSE Music (US) 0429
7
Syllabus reference
Suggested teaching activities

Learning resources
As your learners become more proficient at this exercise, you can make the exercises more
challenging by leaving out more notes and including larger intervals. You can do the same
with rhythms. Look at the specimen paper for an example of the type of dictation question that
your learners should expect to encounter.
Compositional devices should be explained and then reinforced as and when examples of them occur
in the music you are listening to; the link with learners’ own compositions should be made explicit.
You could also make a link to performing by asking learners to bring in pieces they are learning,
listening to the music as a class and then identifying its compositional devices. Likewise, instrumental
and/or vocal effects, structure and texture could be discussed as they occur in the repertoire your
learners are listening to, performing or composing.
Knowledge of the rudiments of music may be tested in any section of the paper, and learners should
be given regular practice in identifying keys and cadences, suggesting tempo and expression
markings, and in recognising different types of articulation and ornaments. In Section C, they may be
required to name intervals. Again, all of these skills could be an integral part of every lesson – an
approach of ‘little and often’ to this type of work will usually lead to the best results. Look at Sections
A–C of the specimen question paper for examples of the types of question that your learners should
expect to encounter.
A link to a useful key signature chart is included in the Resources section of the overview for this
scheme of work and the learning resources column of this scheme of work.
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Scheme of work – Cambridge IGCSE® Music (US) 0429
Unit 2: Music in the Classical period
Outline
This unit will help learners to develop an understanding of the classical style through listening to a range of representative repertoire.
Syllabus reference
Suggested teaching activities
Content of Component 1
Mozart: Rondo from Horn Concerto No. 4
Rudiments
Play a recording of the Rondo from Mozart’s Horn Concerto No. 4 – initially, just the opening rondo
theme.
Melody and rhythm

As a basic listening activity, learners could be asked to identify some different features of the
music: e.g. scale/key (major), main instrument (horn), accompaniment (small orchestra),
number of beats per bar/measure (2 or 4) etc.

More challenging listening activities could explore some of these areas further: e.g. there are
2 or 4 beats per bar/measure, but in compound time rather than simple time. The texture
(melody and accompaniment/homophonic) and the regular phrase lengths should be
identified.
Ensembles and instruments
Learning resources
Recording:
Mozart: Rondo from Horn
Concerto No. 4
Structure
Texture
Genre
Now investigate the structure: explain to learners that labelling distinct sections as A, B etc. helps to
identify structure.

As a basic listening activity, play the rondo theme (A), first episode (B), and return of the
theme (A): this is an example of ternary structure. Having established this concept, play the
whole recording to identify the rondo structure.

A more challenging listening activity could ask the learners to identify these sections
themselves, recognising when themes return, and/or exploring contrasts between the
episodes and the rondo theme.
Learners should be taught about the characteristic features of a concerto.
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Syllabus reference
Suggested teaching activities
Learning resources
Link to performing: if any learners are learning a rondo, they could perform it to the whole class. The
class could be asked to identify the rondo theme and the episodes.
Comparing different styles: Richard Strauss: Horn Concerto No. 1
Content of Component 1
Haydn: Minuet and Trio from String Quartet in B flat, Op. 50, No. 1
Rudiments
Play a recording of the Minuet and Trio (Poco allegretto) from Haydn’s String Quartet in B flat –
initially, just the Minuet.
Melody and rhythm

As a basic listening activity, learners could be asked to identify some different features of the
music: e.g. scale/key (major), instruments (strings), number of beats per bar/measure (3).

More challenging listening activities could explore the cadences found in the minuet, helping
the learners to hear the differences between the imperfect and the perfect cadences.
Harmony
Ensembles and instruments
Genre
Recording:
Haydn: Minuet and Trio (Poco
allegretto) from String Quartet in
B flat, Op. 50, No. 1
Score:
http://conquest.imslp.info/files/i
mglnks/usimg/f/ff/IMSLP05805Haydn_-_Op._50__No._1.pdf
Now play the recording of the Trio as well.

As a basic listening activity, learners could be asked to describe some of the similarities and
differences between the minuet and the trio.

More challenging listening activities could explore the use of syncopation found in the
second half of the trio. Using a copy of the score, learners could be asked to identify some
features of the music in more detail: e.g. key (B flat major) and articulation markings etc.
Learners should be taught about the characteristic features of a minuet and trio and a string quartet.
Link to performing: create an arrangement of a minuet and trio that can be played by your learners.
Write out parts in appropriate keys for the different instruments that your learners play. Performing a
minuet and trio will help to internalise its characteristics.
Comparing different styles: Shostakovich: String Quartet No. 8
Content of Component 1
Mozart: Allegro from Piano Sonata in C, K. 545
Rudiments
Play a recording of the Allegro from Mozart’s Piano Sonata in C – initially just the exposition
(bars/measures 1–28).
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Recording:
Mozart: Allegro from Piano
10
Syllabus reference
Suggested teaching activities
Melody and rhythm
Sonata in C, K. 545

Harmony
Ensembles and instruments
Structure
Learning resources

As a basic listening activity, learners could be asked to identify some different features of the
music: e.g. scale/key (major), instrument (piano), number of beats per bar/measure (4). This
piece provides excellent examples of Alberti bass (e.g. bars/measures 1–4 etc.) and
sequence (e.g. bars/measure 5–8).
As a more challenging listening activity, learners could be taught to recognise the use of the
three primary triads in the opening bars/measures.
Score:
http://petrucci.mus.auth.gr/imgln
ks/usimg/a/a9/IMSLP56442PMLP01855Mozart_Werke_Breitkopf_Serie
_20_KV545.pdf
Compositional devices
Now play the development section as well (bars/measures 28–41).
Genre

A more challenging activity (perhaps in pairs) would be to ask learners to explore the music
in this section; using the score, they should look at the different ways in which Mozart
develops the themes introduced in the exposition (e.g. presenting themes in the minor key).
Finally, play the recapitulation (bar/measure 42 to end), asking learners to observe similarities and
differences with the exposition, and noting the overall ternary structure.
Learners should be taught about the characteristic features of a sonata.
Link to performing: if any learners are learning a sonata they could perform it to the whole class. The
class could be asked to compare similarities and differences between the pieces.
Comparing different styles: Bartók: Piano Sonata
Formative assessment
To check learners’ understanding of this unit, they could be asked (individually or in groups) to give a
presentation on the characteristics of classical music. The presentation should include a variety of
music examples chosen from beyond those studied in the class lessons.
Revision and self-study
The Classics for Kids website contains further listening examples and a narrated description of the
characteristics of the classical style.
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Classics for kids – classical
music:
www.classicsforkids.com/shows
/genre_classical.asp
11
Scheme of work – Cambridge IGCSE® Music (US) 0429
Unit 3: Music in the Romantic period
Outline
This unit will help learners to develop an understanding of the Romantic style through listening to a range of representative repertoire.
Syllabus reference
Suggested teaching activities
Content of Component 1
Beethoven: Funeral March from Symphony No. 3, Eroica
Rudiments
Play a recording of Beethoven’s Marcia Funebre (Funeral March) from Symphony No. 3, Eroica.
Melody and rhythm

Harmony
As a basic listening activity, learners could be asked to identify some different features of the
music: e.g. scale/key (minor), instruments (symphony orchestra), texture (melody and
accompaniment/ homophonic), number of beats per bar/measure (2 or 4) etc. The very
distinctive character of this music could be discussed.
Ensembles and instruments

Texture
More challenging listening activities could ask learners to identify the individual instruments
which are heard at different points in the movement (e.g. the oboe solo in bar/measure 9
onwards). Using the score, learners could identify the key, cadences and modulations.
Learning resources
Recording:
Beethoven: Funeral March from
Symphony No. 3, Eroica
Score:
http://petrucci.mus.auth.gr/imgln
ks/usimg/6/6e/IMSLP00608Beethoven__Symphony_No.3_Mov_2.pdf
Genre
Learners should be taught about the characteristic features of a march and a symphony.
Link to performing: create an arrangement of a march that can be played by your learners. Write out
parts in appropriate keys for the different instruments that your learners play. Performing a march will
help to internalise its characteristics.
Comparing different styles: Walton: Crown Imperial
Project: the instruments of the orchestra
In groups, learners could investigate the instruments of the symphony orchestra, perhaps by taking
one instrument or instrumental family per group. They could give a presentation with music examples
about their instrument or instrumental family, looking at its history and development, and use as a solo
instrument as well as in the orchestra. The link to the BBC orchestra’s website may provide a good
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A guide to the orchestra:
www.bbc.co.uk/orchestras/learn
/guidetotheorchestra/
12
Syllabus reference
Suggested teaching activities
Learning resources
starting point. This will help them to identify instruments more accurately in listening questions.
Content of Component 1
Chopin Étude in E, Op. 10, No. 3
Rudiments
Play a recording of Chopin’s Étude in E, Op. 10, No. 3. A.
Melody and rhythm

Harmony
Ensembles and instruments
As a basic listening activity, learners could be asked to identify some different features of the
music: e.g. scale/key (major), solo instrument (piano), texture (melody and
accompaniment/homophonic), number of beats per bar/measure (2 or 4) etc.
Now play the second section of the work asking learners to describe the different ways in which the
music provides a contrast from the opening section.
Recording:
Chopin: Étude in E, Op. 10,
No.3
Score:
http://petrucci.mus.auth.gr/imgln
ks/usimg/a/a2/IMSLP00307Chopin_-_OP10_3.PDF
Structure
Texture
Finally, play the whole work; learners could be asked to identify the structure of the piece as a whole
(ternary).

Genre
As a more challenging listening activity, some of the chromatic harmony of this piece could
be explored. Learners could also be asked to describe how the dynamic markings contribute
to the character of this music.
Comparing different styles: György Ligeti: Études
Content of Component 1
Johann Strauss: Roses from the South
Rudiments
Play a recording of Johann Strauss’s waltz Rosen aus dem Süden (Roses from the South) starting at
the Tempo di valse (page 7 of the score) – initially to the end of the first waltz on page 14.
Melody and rhythm

Harmony
Ensembles and instruments
Instrumental effects
As a basic listening activity, learners could be asked to identify some different features of the
music: e.g. scale/key (major), instruments (orchestra), texture (melody and
accompaniment/homophonic), number of beats per bar/measure (3–depending on the
recording chosen, this may also seem like one beat per bar, and could be discussed) etc.
Next, learners could be asked to describe the nature of the accompaniment, to discover the
characteristic ‘oom-cha-cha’ pattern. Examples of pizzicato playing can be found in the cello
part.
Texture
Score:
http://petrucci.mus.auth.gr/imgln
ks/usimg/6/6f/IMSLP64335PMLP22613Strauss__Johann__Roses_in_the_South__Op._38
8__orch._score_.pdf
Now play the second waltz, starting on page 15. Learners could be asked to compare the similarities
and differences between this section and the first.
Genre
V2
Recording:
Johann Strauss: Roses from the
South
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Syllabus reference
Suggested teaching activities

Learning resources
More challenging listening activities could use the score to help identify the key, cadences
and modulations.
Comparing different styles: Ravel: Valses nobles et sentimentales.
Link to performing: create an arrangement of a waltz that can be played by your learners. Write out
parts in appropriate keys for the different instruments that your learners play. Performing a waltz will
help to internalise its characteristics.
Formative assessment
To check learners’ understanding of this unit, they could be asked (individually or in groups) to give a
presentation on the characteristics of romantic music. The presentation should include a variety of
music examples chosen from beyond those studied in the class lessons.
Revision and self-study
The Classics for Kids website contains further listening examples and a narrated description of the
characteristics of the romantic style.
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Classics for kids – romantic
music:
www.classicsforkids.com/shows
/genre_romantic.asp
14
Scheme of work – Cambridge IGCSE® Music (US) 0429
Unit 4: Baroque music
Outline
This unit will help learners to develop an understanding of the baroque style through listening to a range of representative repertoire.
Syllabus reference
Suggested teaching activities
Content of Component 1
Purcell: Ah, Belinda from Dido and Aeneas
Rudiments
Play a recording of Ah, Belinda from Dido and Aeneas.
Melody and rhythm

Ensembles and
instruments/voices
Vocal effects
Structure
As a basic listening activity, learners could be asked to identify some different features of the
music: e.g. scale/key (minor), type of voice (soprano), accompaniment (harpsichord and
cello), number of beats per bar/measure (3) etc.
Ah, Belinda is structured over a ground bass. Explain the concept of ground bass, and then play the
recording again.

As a basic listening activity, learners could be asked to identify how many times the ground
bass is heard.

A more challenging activity could focus on the different phrase lengths in the vocal part and
the extent to which they do or do not coincide with the ground bass repetitions. This piece
provides a good example of melisma (on the word ‘languish’) and the use of bass continuo.
Learners should be taught about the characteristic features of opera.
Learning resources
Recording:
Purcell: Ah, Belinda from Dido
and Aeneas
Score:
http://petrucci.mus.auth.gr/imgln
ks/usimg/1/17/IMSLP36466PMLP05472-PurcellZ626vsNov.pdf
(pages 5–7)
Genre
Link to composing: learners could compose (or be given) a short ground bass and then create some
melodic phrases to be performed against the repeating bass line. Composing a ground bass will help
to internalise its characteristics.
Comparing different styles: Puccini: Nessun Dorma
Content of Component 1
Rudiments
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Vivaldi: Autumn from The Four Seasons
Cambridge IGCSE Music (US) 0429
15
Syllabus reference
Melody and rhythm
Suggested teaching activities
Learning resources
Play a recording of the final movement of Autumn from The Four Seasons.
Recording:
Vivaldi: Autumn from The Four
Seasons

Harmony
Ensembles and instruments
Instrumental effects
Structure
Compositional devices

As a basic listening activity, learners could be asked to identify some different features of the
music: e.g. scale/key (major), solo instrument (violin), accompaniment (strings and
harpsichord), number of beats per bar/measure (3) etc. This piece provides good examples of
double-stopping and repetition. Explain to learners that this movement is an example of
ritornello structure (similar to rondo, but the theme is often modified and can return in keys
other than the tonic) and teach them to recognise the return of the ritornello theme.
As a more challenging listening activity, learners could be taught to recognise the modulation
to the dominant key in the middle section of the movement. They could also be asked to
compare the similarities and differences between the different episodes and/or the ritornello
theme.
Score:
http://javanese.imslp.info/files/i
mglnks/usimg/4/42/IMSLP1109
9-AutumnScore_Vivaldi.pdf
(pages 13–23)
Poem:
http://inkpot.com/classical/vi4so
nnets.html
Genre
Vivaldi’s music is based on a poem about the four seasons. As a group activity, learners could
explore how Vivaldi portrays the different aspects of the poem in his music. They could use the score
to help them – Vivaldi indicates which aspect of the poem he is ‘setting’ at different sections in the
movement.
Learners should be taught about the characteristic features of a baroque concerto.
Comparing different styles: Bruch: Violin Concerto
Content of Component 1
Handel: Messiah
Rudiments
Play a recording of the recitative Behold, a virgin shall conceive. Teach your learners to recognise the
characteristics of recitative.
Recording:
Handel: Messiah
Next, play a recording of the aria O Thou that tellest good tidings to Zion – initially just the alto solo,
stopping the recording before the chorus entry. As a basic listening activity, learners could be asked
to identify some different features of the music: e.g. scale/key (major), solo voice (alto),
accompaniment (strings and harpsichord/organ – this will depend on the recording chosen), number
of beats per bar/measure (depending on the recording, some learners may hear this as three fast
beats, or two slower beats – this can lead into a useful discussion on compound time) etc. Note that
there is an extended example of melisma after rehearsal letter F. More challenging listening activities
could use the score to help identify the key, cadences and modulations.
Score:
http://javanese.imslp.info/files/i
mglnks/usimg/4/47/IMSLP1118
2Handel_Messiah_No.8_Behold
_No.9_O_Thou_That_Tellest.pd
f
Melody and rhythm
Harmony
Ensembles and
instruments/voices
Vocal effects
Texture
Now play the chorus section which follows the solo. Listening activities could focus on the texture,
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Syllabus reference
Suggested teaching activities
Genre
which is initially polyphonic before becoming homophonic. Learners should be taught about the
characteristic features of an oratorio.
Learning resources
Comparing different styles: Mendelssohn: Elijah
Formative assessment
To check learners’ understanding of this unit, they could be asked (individually or in groups) to give a
presentation on the characteristics of baroque music. The presentation should include a variety of
music examples chosen from beyond those studied in the class lessons.
Revision and self-study
The Classics for Kids website contains further listening examples and a narrated description of the
characteristics of the baroque style.
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Classics for kids – baroque
music:
www.classicsforkids.com/shows
/genre_baroque.asp
17
Scheme of work – Cambridge IGCSE® Music (US) 0429
Unit 5: Twentieth-century music
Outline
This unit will help learners to develop an understanding of some of the extremely varied approaches taken to composition in the Twentieth Century through listening
to a range of representative repertoire.
Syllabus reference
Suggested teaching activities
Content of Component 1
Debussy: Prélude à l’après-midi d’un faune
Melody and rhythm
Play a recording of Debussy’s Prélude à l’après-midi d’un faune – initially from the beginning to
rehearsal figure 3 (on page 8).
Ensembles and instruments

Instrumental effects
As a basic listening activity, learners could be asked to identify some different features of the
music: e.g. the first solo instrument heard (flute) and the accompanying instruments
(orchestra). They should be asked to try and describe the character of the music.
Texture

As a more challenging listening activity they could compare the different textures found in
the opening section each time the opening flute solo returns. The very beginning is a good
example of monophonic texture; instrumental effects found in this section include tremolo
(strings) and glissando (harp).
Next, play the whole of the recording, listening out for features such as the use of the chromatic scale,
and muted horns and pizzicato basses at the very end. The concept of impressionism could be
discussed by showing paintings such as Monet’s Gare St Lazare.
Learning resources
Recording:
Debussy: Prélude à l’après-midi
d’un faune
Score:
http://petrucci.mus.auth.gr/imgln
ks/usimg/4/40/IMSLP14736Debussy__Pr__lude____l_apr__smidi_d_un_faune__orch._score
_.pdf
Painting:
www.nationalgallery.org.uk/pain
tings/claude-oscar-monet-thegare-st-lazare
Learners should be taught about the characteristic features of impressionist music.
Link to composing: the whole tone scale is found frequently in Debussy’s music (e.g. the first
bar/measure of page 9). Learners could explore some of the different textures and effects that can be
created using just the notes of the whole-tone scale.
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Syllabus reference
Suggested teaching activities
Content of Component 1
Prokofiev: Allegro from Symphony No. 1, Classical
Melody and rhythm
Play a recording of the first movement (Allegro) of Prokofiev’s Symphony No. 1.
Ensembles and instruments

As a basic listening activity, learners could be asked to identify some different features of the
music: e.g. scale/key (major), instruments (orchestra), number of beats per bar/measure (2)
etc.

As a more challenging listening activity they could be asked to describe in detail the texture
of the music in different passages.
Texture
Genre
Learning resources
Recording:
Prokofiev: Allegro from
Symphony No. 1, Classical
(The score is still copyright in
most countries.)
Next, play a recording of a symphony by Haydn. Learners could compare the two performances
listening for similarities as well as differences. Use their observations as the basis of an explanation of
the characteristic features of neo-classical music.
Comparing different styles: Beethoven: Symphony No. 5 in C minor
Content of Component 1
Gershwin: I got rhythm
Melody and rhythm
Play a recording of a vocal version of Gershwin’s I got rhythm from the musical Girl Crazy – initially
the chorus only (I got rhythm).
Ensembles and
instruments/voices

As a basic listening activity, learners could be asked to identify some different features of the
music: e.g. scale/key (major), voice and instruments (these will vary according to the chosen
recording), texture (melody and accompaniment), number of beats per bar/measure (2) etc.
Next, focus on the syncopated rhythm – you could ask some of the class to clap the strong
beats of the basic pulse, while others clap the rhythm of the melody – they should soon notice
the effect of syncopation.

As a more challenging listening activity, play one or two more different performances of the
same piece. Learners could be asked to compare the different ways the song is performed.
Texture
Genre
Recording:
Gershwin: I got rhythm
(The sheet music is still
copyright in most countries, but
is easily found in song
collections.)
Learners should be taught about the characteristic features of jazz and musicals.
Link to performing: if any learners are learning a song or instrumental piece in a jazz style, they could
perform it to the whole class. The class could be asked to identify the jazz elements that they hear in
the music.
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Syllabus reference
Suggested teaching activities
Content of Component 1
Reich: Six Pianos
Play a recording (or even better still, watch a video – there are plenty online) of Reich’s Six Pianos.
Melody and rhythm

As a basic listening activity, learners could be asked to identify some different features of the
music: e.g. main compositional device (ostinato), number of beats per bar/measure (2) etc
and to describe how the texture of the music is made up of different layers of sound.

As a more challenging listening activity, explore with learners how Reich slightly changes the
patterns from time to time to create variety in the piece.
Ensembles and instruments
Learning resources
Recording:
Reich: Six Pianos
(The score is copyright)
Texture
Learners should be taught about the characteristic features of minimalism.
Link to composing: composing in a minimalist style is harder than it might first appear, but learners
could explore some of the textures and effects that can be created using short, repeating melodic
patterns in different layers.
Formative assessment
To check learners’ understanding of this unit, they could be asked (individually or in groups) to give a
presentation on the different styles of twentieth century music they have studied. The presentation
should include a variety of music examples chosen from beyond those studied in the class lessons.
Revision and self-study
The Classics for Kids website contains further listening examples and a narrated description of the
characteristics of impressionist music.
The BBC GCSE Bitesize website contains further information on minimalism.
Classics for kids – impressionist
music:
www.classicsforkids.com/shows
/genre_impressionist.asp
Minimalism:
www.bbc.co.uk/schools/gcsebit
esize/music/music_20th_centur
y/reich1.shtml
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Scheme of work – Cambridge IGCSE® Music (US) 0429
Unit 6: World music (general)
Outline
This unit will help learners to develop an understanding of music around the world through listening to a range of representative repertoire.
Syllabus reference
Suggested teaching activities
Content of Component 1
Arab music and the music of Africa
Melody and rhythm
Work through pages 5–15 and 30–33 of Music Worldwide, completing the assignments as
appropriate. Learners should be taught to recognise the sound of the following specific instruments:
Learning resources
Book and CD:
Sharma, E: Music Worldwide
Ensembles and instruments
Compositional devices
Texture




Rabāb
Kora
Xylophone
‘Ūd.
Virtual West African Drumming:
www.wcsmusic.org.uk/modules.
asp
Playing videos (easily found on websites such as YouTube) is a very good way for learners to
become familiar with these instruments.
They should also be familiar with the following general characteristics of music from this part of the
world:



Syncopation
Polyrhythm
Ostinato.
In addition to listening activities, an engaging way to teach aspects of African music is through African
drumming; using a range of drums, teach your class to perform some African polyrhythms. More able
learners can be given more complex rhythms to play. You could also sing some African songs to
become familiar with the characteristics of the homophonic vocal style and call and response singing.
Learners could also explore the virtual African drumming activities on the suggested website.
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Syllabus reference
Suggested teaching activities
Learning resources
Revision and self-study
Learners could explore the section on African music from the BBC GCSE Bitesize website, which
includes a test.
Content of Component 1
Latin American music
Melody and rhythm
Note that Music Worldwide does not contain a chapter on Latin American Music. As a guide, exploring
Tango (Argentina), music for pan pipes (Andes) and Mariachi music (Mexico) will give learners a good
introduction to many of the characteristic features of Latin American in general – they do not need to
be able to identify music from specific Latin American countries.
Ensembles and instruments
World music:
www.bbc.co.uk/schools/gcsebit
esize/music/world_music/
Texture
Learners should be taught to recognise the sound of the following specific instruments:




Bandoneon
Pan-pipes
Charango
Guitar.
Playing videos (easily found on websites such as YouTube) is a very good way for learners to
become familiar with these instruments.
They should also be familiar with the following general characteristics of music from this part of the
world:


Syncopation
Homophonic texture
In addition to listening activities, learners could play class arrangements of some Latin American
music, e.g. Tangos. Some learners may be learning Latin American pieces individually; they could
perform these, and the class could identify the Latin American features in the music.
Content of Component 1
Chinese music
Melody and rhythm
Work through pages 57–64 of Music Worldwide, completing the assignments as appropriate. Learners
should be taught to recognise the sound of the following specific instruments:
Book and CD:
Sharma, E: Music Worldwide
Ensembles and instruments
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Syllabus reference
Instrumental effects
Suggested teaching activities



Learning resources
Ch’in
Dizi
Erh-hu.
Playing videos (easily found on websites such as YouTube) is a very good way for learners to
become familiar with these instruments.
They should also be familiar with the following general characteristics of music from this part of the
world:



Pentatonic scale
Pitch bending
Ornaments.
In addition to listening activities, learners could be taught how basic Chinese musical notation works,
and could be asked to compose short melodies which they notate using Chinese notation.
Content of Component 1
Indian music
Melody and rhythm
Work through pages 34–46 of Music Worldwide, completing the assignments as appropriate. Learners
should be taught to recognise the sound of the following specific instruments:
Book and CD:
Sharma, E: Music Worldwide
Ensembles and instruments
Instrumental effects
Texture




Bansuri
Sitar
Sārangī
Tablā.
Playing videos (easily found on websites such as YouTube) is a very good way for learners to
become familiar with these instruments.
They should also be familiar with the following general characteristics of music from this part of the
world:



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Texture (melody and drone)
Pitch bending
Ornaments.
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Syllabus reference
Suggested teaching activities
Learning resources
In addition to listening activities, learners could compose some short melodies based on one of the
ragas in Music Worldwide.
Revision and self-study
Learners could explore the section on Indian music from the BBC GCSE Bitesize website, which
includes a test.
Content of Component 1
Indonesian music
Ensembles and instruments
Work through pages 47–56 of Music Worldwide, completing the assignments as appropriate. Learners
should be taught to recognise the sound of the general ensemble:
World music:
www.bbc.co.uk/schools/gcsebit
esize/music/world_music/
Book and CD:
Sharma, E: Music Worldwide
Texture

Gamelan
Playing videos (easily found on websites such as YouTube) is a very good way for learners to
become familiar with these instruments.
The Virtual Javanese Gamelan:
www.wcsmusic.org.uk/moduleg
amelan.asp
They should also be familiar with the following general characteristic of music from this part of the
world:

Heterophonic texture
In addition to listening activities, learners could explore the virtual Javanese Gamelan on the
suggested website.
Revision and self-study
Learners could explore the section on Gamelan from the BBC GCSE Bitesize website, which includes
a test.
Content of Component 1
Japanese music
Ensembles and instruments
Work through pages 65–69 of Music Worldwide, completing the assignments as appropriate. Learners
should be taught to recognise the sound of the following specific instruments:
World music:
www.bbc.co.uk/schools/gcsebit
esize/music/world_music/
Book and CD:
Sharma, E: Music Worldwide
Texture
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Syllabus reference
Suggested teaching activities



Learning resources
Shakuhachi
Koto
Shō
Playing videos (easily found on websites such as YouTube) is a very good way for learners to
become familiar with these instruments.
They should also be familiar with the following general characteristics of music from this part of the
world:

Heterophonic texture
In addition to listening activities, learners could perform some Japanese melodies.
Formative assessment
To check learners’ understanding of this unit, they could be asked (individually or in groups) to give a
presentation about the different areas of world music they have studied. The presentation should
include a variety of music examples chosen from beyond those studied in the class lessons.
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Scheme of work – Cambridge IGCSE® Music (US) 0429
Unit 7: World focus and Set Work
Recommended prior knowledge
Before studying this unit, learners should have studied Units 1–6 of this Cambridge IGCSE Music scheme of work.
Context
Learners must study the prescribed world focus, and one of the two prescribed Set Works. Teachers should consult the syllabus carefully to check which world focus
and Set Works are prescribed for the relevant year of examination.
Outline
This unit will help learners to develop a deeper understanding of music from one area of world music, and a detailed knowledge of the compositional processes and
structure etc. of their chosen Set Work.
Suggested teaching activities
Learning resources
Arab music and the music of Africa (for examination in 2015)
Learners should study the section on Arab music and the music of Africa in Unit 6 in close detail. The syllabus specifies
the exact knowledge which is required; all information can be found in the specified pages of Music Worldwide.
Book and CD:
Sharma, E: Music Worldwide
Section B of the specimen paper indicates the style of questions that may be asked for the world music focus.
Specimen paper available at
http://teachers.cie.org.uk
Effective teaching and learning strategies could include use of videos (easily found on YouTube) and learner projects/
presentations about Arab music and the music of Africa.
Specimen CD – available for loan from
Cambridge Publications at
www.cie.org.uk/profiles/teachers/orderpub
Mendelssohn: A Midsummer Night’s Dream, Overture Op. 21 (for examination in 2015)
The Cambridge website contains very detailed notes for guidance on teaching the Set Works at http://teachers.cie.org.uk.
These notes explain the range of knowledge expected in this section; the teaching strategies described in units 1–5
should be used as appropriate when teaching the Set Work.
Section D of the specimen paper indicates the style of questions that may be asked for the western Set Work.
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Recording:
Mendelssohn: A Midsummer Night’s
Dream, Overture
Score:
http://conquest.imslp.info/files/imglnks/usi
26
Suggested teaching activities
Learning resources
mg/a/a6/IMSLP27213-PMLP60228Mendelssohnop21fullscore.pdf
Teachers’ Guide to Prescribed/Set Works:
www.cie.org.uk/qualifications/academic/mi
ddlesec/igcse/subject?assdef_id=875
Specimen paper available at
http://teachers.cie.org.uk
Specimen CD – available for loan from
Cambridge Publications at
www.cie.org.uk/profiles/teachers/orderpub
Rodrigo: Concierto de Aranjuez (Movements 1 and 2) (for examination in 2015 and 2016)
The Cambridge website contains very detailed notes for guidance on teaching the Set Works at http://teachers.cie.org.uk
These notes explain the range of knowledge expected in this section; the teaching strategies described in units 1–5
should be used as appropriate when teaching the Set Work.
Recording:
Rodrigo: Concierto de Aranjuez
The score is copyright and will need to be
purchased from a sheet music supplier
Section D of the specimen paper indicates the style of questions that may be asked for the western Set Work.
Teachers’ Guide to Prescribed/Set Works:
www.cie.org.uk/qualifications/academic/mi
ddlesec/igcse/subject?assdef_id=875
Specimen paper available at
http://teachers.cie.org.uk
Specimen CD – available for loan from
Cambridge Publications at
www.cie.org.uk/profiles/teachers/orderpub
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Scheme of work – Cambridge IGCSE® Music (US) 0429
Unit 8: Performing (ongoing)
Recommended prior knowledge
See Overview page 1.
Context
Learners must record one solo and one ensemble performance.
Outline
This unit suggests some ways in which performing activities can be integrated into class lessons.
Suggested teaching activities
By the end of the course, learners should have recorded a solo and an ensemble performance, of between four and ten minutes’ duration in total (see syllabus). In most
cases, the teaching of instruments and/or singing is likely to take place outside of the classroom; however, from a learner’s perspective, playing their instrument or
singing is perhaps the thing they enjoy they most about music and may well be the reason they chose to study Cambridge IGCSE Music in the first place. Teachers
should therefore seek opportunities wherever possible to integrate performing into their lessons. There are many ways to do this:
 Ask learners to play examples of music in the style that you are studying.
 Demonstrate rudiments (e.g. articulation or ornamentation) or different instrumental effects (e.g. arco or pizzicato) by asking the learners to play them on their
instruments.
 Find compositional devices in music from any style that your learners are playing.
 Learners perform their own and each other’s compositions
The responsibility for arranging an ensemble is most likely to lie with the school music teacher. Bear in mind the following points when doing this:
 Not everyone in an ensemble has to be a candidate for the examination, or even a learner at the school. Teachers may be members of ensembles.
 It is important that the ensemble music is the right level for the learner – this can be harder to achieve than for solo repertoire, but must not be neglected if the
learner is to demonstrate their best skills.
 Existing ensemble music may be appropriate, but teachers may need to arrange and adapt music to fit their circumstances.
See the syllabus and examiner reports for detailed guidance on acceptable ensemble submissions and for information on assessing and submitting the performances at
http://teachers.cie.org.uk
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Scheme of work – Cambridge IGCSE® Music (US) 0429
Unit 9: Composing (ongoing)
Context
Learners must complete two contrasting compositions.
Outline
This unit suggests some ways in which composing skills can be developed.
Suggested teaching activities
By the end of the course, learners should have completed two contrasting compositions, which must be notated and recorded (see syllabus). The skills of composition
are learned and developed over time, and it is recommended that composition is taught throughout the course, rather than as a self-contained unit.

As a basic introduction to composing, learners could be taught how to handle simple chord sequences and cadences, and introduced to the principles of
melody writing and word setting. They could learn how to create accompanying patterns for different instruments.

More challenging work will include learning about modulation, and using compositional devices to extend and develop compositions (there is a clear link to the
listening units here). They may notate their compositions using music software, but should also be given the chance to hear their ideas played by real
instruments whenever possible.
There is no restriction on the style of music that can be submitted, or the instruments or voices for which it can be written. Some suitable projects may include:



Song writing
Theme and variations
Pieces with a ternary or rondo structure.
This list is not exhaustive, and learners may submit pieces in any style, structure or genre of their choice.
See the syllabus and examiner reports for information on assessing and submitting the performances at http://teachers.cie.org.uk .
® IGCSE is the registered trademark of Cambridge International Examinations.
© Cambridge International Examinations 2013
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