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CAMBRIDGE INTERNATIONAL EXAMINATIONS
s
er
om
.c
Pre-U Certificate
MARK SCHEME for the May/June 2013 series
9800 MUSIC
9800/11
Listening, Analysis and Historical Study Sections A and B,
maximum raw mark 60
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, Pre-U,
GCE Advanced Level and Advanced Subsidiary Level components and some Ordinary Level
components.
Page 2
Mark Scheme
Pre-U – May/June 2013
Syllabus
9800
Paper
11
Section A: Generic Marking criteria
DESCRIPTORS
ARKS
A thorough and detailed comparison, demonstrating excellent aural perception of
interpretative differences informed by a highly-developed understanding of performance
practice issues.
21–24
A detailed comparison demonstrating good aural perception of interpretative differences
informed by a well-developed understanding of performance practice issues.
16–20
A fairly detailed comparison demonstrating moderately good aural perception of
interpretative differences informed by some understanding of performance practice issues.
11–15
Some aural awareness of interpretative differences in an uneven comparison showing a
little understanding of performance practice issues.
6–10
A little aural awareness of a few differences showing very limited familiarity with
performance practice issues.
1–5
No attempt to compare the recordings.
0
Most answers should notice that:
•
•
•
•
Performance 1 is at a lower pitch than Performance 2
The clarinet sound in Performance 2 is much harsher than in Performance 1
The general dynamic in Performance 2 is louder than in Performance 1
There is some background hiss in Performance 2
Better-informed and more perceptive answers might add that:
•
•
•
•
•
Performance 1 is played on 18th century instruments (or modern copies)
Performance 2 is played on modern instruments
Performance 2 is slightly slower than Performance 1
In Performance 1 there are some alterations to the written text of the music, especially towards
the end of the Extract (taking the clarinet into a very low register)
The written appoggiaturas (e.g. b7) are played before the beat in Performance 1, whereas in
Performance 2 they are played (mostly) on the beat
Answers in the highest bands are also likely to explain that:
•
•
•
•
•
•
In Performance 1 the soloist adds some decorations to the written part (e.g. b393 and b423)
The alterations to the written text of the music in Performance 1 make a more satisfactory
melodic line (e.g. in bb 45/46 and 49/50)
The written dynamics are not clearly observed in either performance: there is relatively little
contrast in Performance 1 and in Performance 2 some markings are ignored or altered.
The instrument used in Performance 2 is a modern clarinet, whereas in Performance 1 it is a
reconstruction of an 18th-century [Basset] Clarinet.
There is use of vibrato in the orchestra in Performance 2 but not in Performance 1.
There is a difference in the ending of the cadenzas.
© Cambridge International Examinations 2013
Pa
age
e3
Ma
ark
k Sch
S hem
me
e
Prre-U
U – May
M y/J
Jun
ne 20
013
3
Syllab
bus
s
98
800
0
Pa
ape
er
11
S
Sec
ctio
on B: In
nsttrume
enttal orr Voc
V cal Mu
usic in the
eR
Rom
ma
anttic Pe
erio
od (36 ma
marks
s)
Eithe
er To
Topic
c B1
B Ins
strrum
menta
al Mu
Music
c: Qu
ues
stio
ons
s 2–1
2 10
Qu
ues
stio
ons
s 2 – 10
0 are ba
ase
ed on
o the sske
eletton
n scorre of pa
art of Sm
mettan
na’s
sF
Fro
om Bo
ohe
em
mia’s
s Wo
Wood
ds a
and
d
Fie
eld
ds, co
omposed
d in
i 1875. The
T e re
eco
ord
ding
g beg
b gin
ns on Trac
ck 4 of the
e CD
CD and
a d Trac
T ckss 5,
5 6,
6 7 and
a d 8
es wh
pro
oviide
e re
eferen
nce
e poin
p nts to identify
y so
om
me passa
age
hic
ch rela
r ate
e to
o pa
articu
ularr Que
Q estiion
ns. Th
he ske
ele
eton
n
sc
core
e is
s in
n th
he accomp
pan
nyin
ng Ins
serrt, w
wh
here
e itt is
s id
den
ntified as
sE
Extrrac
ct 2.
2
2
The me
T
elo
ody
y at
a the
t e beg
b ginnin
ng off the
e extrrac
ct is
i pla
aye
ed an
nd harm
mo
oniise
ed by
y clar
c rinets
s a
and
d
h rns
ho
s. W
Wh
hic
ch oth
o herr sectio
on of
o the
e orc
o che
estra is pla
aying
g at
a this
s poin
p nt?
?
[1]
S ring
Str
gs
3
Briieffly de
B
esc
crib
be an
ny tw
wo fea
f atu
ures
s of
o the
t em
music
c play
p yed
d by
b th
he sec
s ction
n off th
he orrch
hes
stra
ay
you
u
n me
na
ed in yo
ourr an
nsw
we
er to
t Qu
Ques
stio
on 2 in
i ba
ars 1–
–8.
[2
2]
One ma
On
mark ea
ach
h fo
or a
any
y off th
he follow
wing obs
o serrva
ations, to
o a to
otal off 2 ma
ark
ks:
•
•
•
•
•
•
4
trripllet rhy
yth
hms
s
s alic mo
sca
ove
em
men
nt
c om
chro
maticis
sm
trrillss
s staine
sus
ed bas
b ss line
e
b with piz
but
zzic
catto dou
d ublle bas
b ss on
n firrst be
eat of ba
ar
Write
Wr
e th
he me
elo
ody
y in
n bar
b rs 5 – 12
2.
[5
5]
Award m
Aw
marks
s as fo
ollo
ow
ws:
Entire
E
ely co
orre
ect
No more
No
m e th
han
n 3 mino
m or errrors
s
No more
No
m e th
han
n 5 mino
m or errrors
s
No more
No
m e th
han
n 7 erro
ors
A pro
Ap
oxima
ate melo
odic sha
s ape
e give
en
No atttem
No
mp
pt at
a a melo
m ody
y
5
4
3
2
1
0
© Ca
amb
brid
dge
e In
nterrnattion
nal Ex
xam
mina
atio
ons
s 20
013
3
Page 4
5
Mark Scheme
Pre-U – May/June 2013
Syllabus
9800
Paper
11
Describe in detail the texture of the music in bars 21 – 382 (Track 5 on the CD starts at the
beginning of bar 21).
[4]
One mark for any of the following observations, up to a total of 4:
•
•
•
•
•
•
•
•
6
Polyphony/Fugato/Imitative
Entries in e.g. bb 22, 24, 25, 27, 28, 31, 32
Stretto
Canons at the 8va
Strings only
Pedal point
Trills
Occasionally thirds/sixths
In what ways are bars 383 – 58 different from bars 03 – 20? (Track 6 on the CD starts at the
beginning of bar 38).
[5]
One mark for any of the following observations, up to a total of 6 marks:
•
•
•
•
•
•
•
•
•
•
•
•
7
Different key (D flat major instead of F major)
Melody doubled an octave higher
And played by oboes and flutes
Dominant pedal in bb 38 – 48
Sustained violin trills
Trills also in other string parts
Horns echo each phrase of the melody until b47, coupled with string triplets
Then join with the woodwind
String triplets in middle of texture
String triplets move into violins from b50 at high pitch
Use of triangle
No longer a pizzicato bass note
Comment on bars 59 – 62 in relation to music heard earlier (Track 7 on the CD starts at the
beginning of bar 59).
[3]
One mark for any of the following observations, up to a total of 3 marks:
•
•
•
•
•
Same music as bb 21ff
Shorter
Entries closer together
In 5 parts
Starting at a higher pitch
© Cambridge International Examinations 2013
Page 5
8
Mark Scheme
Pre-U – May/June 2013
Syllabus
9800
Paper
11
Using the letters A, B, C and D, indicate in the score where each of the following occurs
between bar 75 and bar 88 (Track 8 on the CD starts at the upbeat to bar 75):
[4]
(a) A diminished 7th chord (A)
Bar 782
(b) A syncopation in the melody (B)
Bar 87
(c) Descending chromatic movement in the bass (C)
Bar 77 or bar 81
(d) Chord V7 of D major (D)
Bar 83
9
In the passage from bar 89 to bar 96 there are two errors of rhythm or pitch. Indicate them
in the score, showing what you actually hear.
[4]
In b90 the G natural should be G sharp
In b95 the treble rhythm should be syncopated (crotchet-minim instead of minim-crotchet)
One mark each for the right point in the passage; one mark each for accurate correction.
© Cambridge International Examinations 2013
Page 6
Mark Scheme
Pre-U – May/June 2013
Syllabus
9800
Paper
11
10 Consider the style of this Extract in comparison with any other 19th-century orchestral
work(s).
Marks should be awarded using the following scheme:
DESCRIPTORS
MARKS
Answers make detailed comparisons between the extract and the chosen piece;
highly relevant similarities/differences are identified with illustrations from musical
language and compositional technique. Answers demonstrate a strong sense of wider
contextual awareness.
7–8
Answers draw a number of comparisons between the extract and the chosen piece; a
range of similarities/differences are identified with illustrations from musical language
and compositional technique. Answers may demonstrate a reasonable amount of
wider contextual awareness.
5–6
Answers draw some creditable comparisons between the extract and the chosen
piece. The relevance of these may be limited and answers may demonstrate little or
no wider contextual awareness.
3–4
Answers may show some knowledge, but fail to compare successfully the chosen
piece and the extract. Points are generally weak and irrelevant with no wider
contextual awareness.
1–2
No creditable stylistic points or comparisons made
Answers may consider the following points, but this list is in no way exhaustive and credit
must be given for any relevant musical comparisons:
•
•
•
•
•
•
•
•
•
•
•
The Extract is part of a Tone Poem
It is an example of Programme Music (in this case a piece of descriptive music, rather
than a piece which tells a story)
The music is predominantly lyrical in character
The phrases are often extended beyond the conventional 4 or 8 bars
This is an example of musical Nationalism
The main melody has a simple, folk-like quality
But the orchestration is sophisticated
There is a characteristically Czech sound, to which melody, rhythm, harmony and
orchestration all contribute
Modulations to the flat Submediant are a common feature of 19th-century music
The most apt comparisons may be with music by Dvořák (symphonies, tone poems)
or with other nationalist composers, and with other composers of single-movement
descriptive pieces (Beethoven, Mendelssohn, Berlioz, etc.)
Contrasts may be made with composers of symphonies in the Classical tradition
(Brahms, Bruckner, Mahler, etc.) although the music has certain stylistic features that
could be compared with almost any of the composers mentioned here.
© Cambridge International Examinations 2013
0
Pa
age
e7
Ma
ark
k Sch
S hem
me
e
Prre-U
U – May
M y/J
Jun
ne 20
013
3
Syllab
bus
s
98
800
0
Pa
ape
er
11
Orr Top
pic B2
2 Voc
V cal Mus
sic:: Que
Q estion
ns 11
1 – 19
9
Qu
ues
stio
ons
s 11 – 19
1 arre based
d on
o the
e ske
s eletton
n sscore off an
ne
extrac
ct from
f m Ac
ct I off Web
W berr’s op
perra D
De
er
Frreis
sch
hütz
z, w
which
h was
w s firrst pe
erfo
orm
med
d in
n 182
21. Th
he rec
corrdin
ng be
egin
ns on Trrac
ck 9 of
o the CD
D and
a d Tra
T cks
s
10
0, 11,
1 , 12 an
nd 13
3 provvide reffere
encce po
oints to id
den
ntify
y som
s me pass
sag
gess wh
w ich
h re
ela
ate to
o part
p ticu
ula
ar
Qu
ues
stio
ons
s. T
The
e ske
s eletton
n sco
s ore is in th
he ac
ccomp
pan
nyin
ng In
nse
ert, wh
herre it is ide
entifie
ed as Extrract 3
3. A
tra
ans
slattion
no
of th
he Ge
erm
man te
extt is
s prrovvide
ed at the
eb
botttom
m of
o eac
e ch page off the sco
s ore.
Ma
ax,, a yo
oun
ng hunts
sma
an, is
s in
n lo
ove
ew
with Ag
gatthe
e, b
butt he
e mus
m st w
win
n a sh
hoo
otin
ng conte
estt be
efo
ore he
er fath
f herr,
Ku
uno
o, will
w l alllow
w him
h m to
om
marrry he
er. At this poi
p int in the
e ope
o era
aM
Max
x is in de
esp
pair bec
b cau
use
e he
e has
h s lo
ost the
e
firs
st rou
r und
do
of the co
onttest to
o Kas
K spa
ar, a pe
easant, w
who is
i in
i lea
agu
ue witth the
e Dev
D vil and h
has
s cas
c st a spell
ov
ver Ma
ax to ma
ake
e him
h m sh
hoo
ot bad
b dly
y.
11 M
Ma
ax is the
e her
h ro of
o this op
pera. Brrieffly de
esc
crib
be featu
ure
es of his par
p rt in
i thi
t s ext
e tract wh
hic
ch are
e
t pic
typ
cal of mus
sic forr th
he he
ero
o off a niine
eteenth--ce
entturry o
ope
era
a.
[4
4]
One ma
On
mark ea
ach
h fo
or a
any
y off th
he follow
wing obs
o serrva
ations, to
o a to
otal off 4 ma
ark
ks:
•
•
•
•
•
•
The
T
e ro
ole off Maxx is su
ung
g by
y a (H
Hellde
en)tten
norr
H music beg
His
b gin
ns in a maj
m or ke
ey (C
( ma
ajor)
T ere
The
e is a purpo
ose
eful qualityy ab
bou
ut his
sm
mus
sic, wiith a llot of relatiive
ely lon
ng note value
es
T at qua
Tha
q ality
y is
sn
not los
st eve
e en wh
hen
n he
e sing
s gs of his
s desspair
O w
Or
wh
hen
n th
he key
k y cha
c ang
ges
s to
o a mino
or key
k y (A
A mino
m or))
T ere
The
e arre sev
verral up
pwa
ard
d-m
mov
ving phr
p rasses
s in
n hiis par
p rt and
a d sev
s vera
al pro
p omine
ent ris
sing
g in
nte
erva
als
s,
g ng it an as
givi
spirattion
nal ch
harractterr
12
2 Wr
Write
e th
he vo
oca
al me
m lod
dy in ba
ars
s 15
5 – 19
9.
© Ca
amb
brid
dge
e In
nterrnattion
nal Ex
xam
mina
atio
ons
s 20
013
3
[5
5]
Page 8
Mark Scheme
Pre-U – May/June 2013
Syllabus
9800
Paper
11
13 Kaspar is the villain of this opera. Briefly describe features of his part in bars 32 – 51 of
this extract which are typical of music for the villain of a nineteenth-century opera. (Track
10 on the CD starts at the beginning of bar 32).
[4]
One mark each for any of the following observations, to a total of 4 marks:
•
•
•
•
•
•
•
•
•
The role of Kaspar is sung by a bass
His first bar consists of dotted rhythms at quite a fast tempo, so that it is difficult for a singer
to get the words in
And his first phrase contains several chromatic notes
His part is generally not lyrical (e.g. especially the disjunct intervals in bar 36)
There are several short note values
And several chromatic intervals (e.g. Diminished 7th outline in bb 37-38, Diminshed 5th in bb
38-39)
The harmony accompanying his part contains several chromatic chords (e.g. Dominant minor
9th in b33 [accept diminished triad])
The trill at the cadence in bar 50 is another rather grotesque effect
Minor key
14 Give a technical term to describe the style of the music in bars 52 – 55. (Track 11 on the
CD starts at the upbeat to bar 52).
Recitative
[1]
15 Using the letters A, B, C and D, indicate in the score where each of the following occurs
between bar 52 and bar 58:
(a) A second inversion chord of A major (A)
Bar 55 (accept 563)
(b) A suspension (B)
Bar 57
(c) An augmented 6th chord (C)
Bar 54
(d) A dominant 7th chord (D)
Bar 56 (1st half of the bar)
© Cambridge International Examinations 2013
[4]
Page 9
Mark Scheme
Pre-U – May/June 2013
Syllabus
9800
Paper
11
16 Describe two ways in which the music from bar 59 to bar 62 creates a sense of new
purpose, in keeping with the words.
[2]
One mark each for any of the following observations, to a total of 2 marks:
•
•
•
•
•
•
Faster tempo
Rising pattern in the strings
In octaves
With accents
Sudden f dynamic
Two rising 4ths in the voice part (the second one rising by step)
17 In the passage from bar 63 to bar 67 there are two errors of rhythm or pitch. Indicate them
in the score, showing what you actually hear.
[4]
Bar 65: top note should be F natural
Bar 66: quavers should be dotted
One mark each for the right point in the passage; one mark each for accurate correction.
18 (a) Give the name of the chord used in bar 88. (Track 13 on the CD starts at the upbeat to bar
74).
Dominant 9th
[1]
(b) What dynamic marking should go at the upbeat to bar 91?
p
[1]
(c) How does Weber convey the meaning of the words ‘Sa! hussa! dem Bräutgam, der Braut!’
(So Hurrah! to the Bridegroom and Bride!) in bars 95 to 98?
[2]
One mark each for any of the following observations, to a total of 2 marks:
•
•
•
•
•
•
•
Sudden ff dynamic
Short, exclamatory outburst
String fanfare rhythm
Voices in rhythmic unison
High notes in the soprano part
Prominent horns in the orchestra
Playing a fanfare-like phrase in rhythmic unison
© Cambridge International Examinations 2013
Page 10
Mark Scheme
Pre-U – May/June 2013
Syllabus
9800
Paper
11
19 Consider any similarities or differences between this extract and any other 19th-century
opera.
[8]
Marks should be awarded using the following scheme:
DESCRIPTORS
MARKS
Answers make detailed comparisons between the extract and the chosen piece;
highly relevant similarities/differences are identified with illustrations from musical
language and compositional technique. Answers demonstrate a strong sense of wider
contextual awareness.
7–8
Answers draw a number of comparisons between the extract and the chosen piece; a
range of similarities/differences are identified with illustrations from musical language
and compositional technique. Answers may demonstrate a reasonable amount of
wider contextual awareness.
5–6
Answers draw some creditable comparisons between the extract and the chosen
piece. The relevance of these may be limited and answers may demonstrate little or
no wider contextual awareness.
3–4
Answers may show some knowledge, but fail to compare successfully the chosen
piece and the extract. Points are generally weak and irrelevant with no wider
contextual awareness.
1–2
No creditable stylistic points or comparisons made
0
Answers may consider the following points, but this list is in no way exhaustive and credit
must be given for any relevant musical comparisons:
•
•
•
•
•
•
•
•
•
German language
Prominent use of Chorus
There is no clear division into recitative and aria sections
This is a Singspiel (evident, given the date of the opera, even in the absence of spoken
dialogue in this Extract)
The use of horns and diatonic harmony in imitation of natural horn-calls contributes to the
Romantic atmosphere
The given outline of the plot suggests themes typical of German Romantic opera (the
struggle between good and evil)
The most apt comparisons may be with other German composers (Beethoven, Meyerbeer,
Wagner)
Contrasts may be made with Italian operas (Bellini, Donizetti, Verdi)
Candidates may choose to make direct comparisons with other formative operas from early
in the century, or to focus on contrasts with later operas from similar or different national
approaches.
© Cambridge International Examinations 2013