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CAMBRIDGE INTERNATIONAL EXAMINATIONS
s
er
om
.c
Pre-U Certificate
MARK SCHEME for the May/June 2014 series
9800 MUSIC
9800/11
Paper 1 (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 2014 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 2014
Syllabus
9800
Paper
11
Section A: Generic Marking criteria
DESCRIPTORS
MARKS
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:
•
•
The tempo of Performance 2 is considerably faster
Performance 1 is played on a fortepiano; Performance 2 is played on a modern piano (and
describe some of the differences in tone quality)
Better-informed and more perceptive answers might add that:
•
•
•
Performance 2 is around a semitone higher in pitch than Performance 1; this suggests that
Performance 2 uses modern instruments, while Performance 2 uses 18th century instruments (or
modern copies)
Both performances observe the sf markings, but these are handled differently in the passage
from bar 66
The dynamic range of the piano is more limited in Performance 1 than Performance 2
Answers in the highest bands are also likely to explain that:
•
•
•
•
•
The sustaining pedal is used sparingly in Performance 2, but is more obvious at times in
Performance 1 (e.g. bars 8–13)
The orchestra is smaller in Performance 1 than Performance 2
The orchestral sound is more homogenous in Performance 2; in Performance 1 individual lines
are prominent at times (e.g. cello on bars 70–73)
There is less use of string vibrato in Performance 1 than Performance 2
In the passage from bar 128–138, in Performance 1 the tutti bars are slurred in pairs, whereas
the notes are separate in Performance 2
© Cambridge International Examinations 2014
Pa
age
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Ma
ark
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Prre-U
U – May
M y/J
Jun
ne 20
014
4
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)
An
nsw
werr alll the qu
ues
stio
ons
s on
n you
y ur ccho
ose
en To
T picc.
Eithe
er To
Topic
c B1
B Ins
strrum
menta
al Mu
Music
c: Qu
ues
stio
ons
s 2–1
2 11
Qu
ues
stio
ons
s 2–11 are
a e ba
ase
ed on
n th
he ske
s ele
eton
n sco
s re of pa
art of
o Rim
msky--Ko
ors
sakkov
v’s Sc
che
ehe
eraz
zad
de,, Op.
O 35
5,
CD
co
omp
pos
sed
d in
n 188
1 88. Th
he re
ecording
g be
egins
s on Tra
T ack
k 4 off th
he C
D and
a d Trac
T cks
s 5,
5 6,
6 7,
7 8 and
a d 9 prrovvide
e
refferrence po
oints to
t ide
entify so
ome
e pas
p ssa
age
es wh
w ich
h re
elatte to pa
artic
cular Qu
uesstio
ons
s. The
T e skeleto
on sc
core
e is
s
in the
e acc
a com
mpa
any
ying Insertt, whe
w ere
e it is ide
entiifie
ed a
as Ex
xtra
act 2.
2
I enttify
Ide
y th
he ins
strrum
men
nts
s whi
w ch
h play
y in
n bars
b s 1–4
1 4 of
o th
he ex
xtra
actt.
[2
2]
V olin
Vio
n (ssolo
o) and
a d har
h rp (1
( ma
mark ea
ach
h)
3
Desc
De
crib
be an
ny thr
t ree
e fe
eature
es off th
he mu
music p
pla
aye
ed in ba
ar 4.
4
•
•
•
•
•
•
•
[3
3]
Solo viol
S
v lin on
nly (i.e
e. with
w hou
ut a
acc
com
mp
pan
nim
men
nt)
C den
Cad
nza
a-like pa
ass
sag
ge
B sed
Bas
d on b3
b
Im
mittatiive
e
D uble-s
Dou
sto
ops
s
H h reg
Hig
r gistter
W de ran
Wid
nge
e
One ma
On
mark forr each vvaliid obs
o serrva
atio
on up
u to a ttota
al of
o 3 mar
m rks
s.
4
IIn the sc
core
e, ad
dd slurs
s, staccato mar
m rkin
ngs
s, ac
cce
entts or te
enu
uto
os, to
o refl
r lec
ct the
e wa
way the
e
b ssoo
bas
onis
st pla
ays
s in
n bar
b rs 10–
1 –13
3. (Tr
( rac
ck 5 o
on the
e CD
C sttartts at
a the
eb
beg
gin
nnin
ng off bar 5)..
[3
3]
T e sco
The
s ore giv
ves
s th
he folllow
win
ng:
Accep
A
pt an
ny alte
ern
nattive
e mar
m rkin
ngss that gen
g nuin
nelly refflec
ct tthe
e man
m nne
er of pe
erfo
orm
man
e in the
t e b
bars
s
nce
c nce
con
ern
ned
d, up
u to
t a tota
al of
o 3 mar
m rks, acco
ord
ding
g to the follow
win
ng scheme
e:
•
•
•
•
5
Enttire
E
ely ap
a pro
oprriatte ma
markiing
gs
S verral ma
Sev
ark
king
gs pro
ovid
ded
A fe
ew ma
ark
king
gs provide
ed
N ap
No
ppro
oprriatte ma
arking
gs
3
2
1
0
Wh
W
hic
ch tw
wo chord
ds arre played
d in
n the ac
cco
om
mpa
aniimen
nt of
o ba
ars 26
6–3
35?
? (Tr
( rac
ck 6 on
o th
he CD
D
s arts
sta
sa
at the
t e be
eginn
nin
ng of
o ba
ar 2
26)).
[2
2]
B min
m norr an
nd E min
norr
© Ca
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xam
mina
atio
ons
s 20
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4
Pa
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6
Ma
ark
k Sch
S hem
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Prre-U
U – May
M y/J
Jun
ne 20
014
4
Syllab
bus
s
98
800
0
Pa
ape
er
11
IIn the
t es
sco
ore
e, writ
w te tthe
e mel
m lod
dy in ba
ars
s 35
53–
–40
01. (Trrac
ck 7 on
o th
he CD
CD sttarrts at th
he beg
b gin
nniing
g of
o
b r 35).
ba
3 .
[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
7
8
5
4
3
2
1
0
Wh
W
hic
ch o
of the foll
f low
win
ng ac
ccu
ura
atelly ide
enttifie
es th
he ch
c ord
d in ba
b r 46?
4 ? Ans
A swe
er by
y plac
p cin
ng a ttick
k
( ) in
()
no
one
e box
x:
[1]
A min
m norr
C ma
majorr
E maj
m jorr
E min
m norr
Co
C
omp
pare ba
ars
s 48–
4 –57
7 with
w h bar
b rs 26–35, no
otin
ng an
ny siimiilarrities
s or diff
d ferren
nce
es. (T
Track 6 on
n
t e CD
the
C sta
artts at
a the
t e beg
b ginnin
ng off ba
ar 26
2 an
nd Trrac
ck 8 s
starrts
s att th
he be
egin
nning
go
of bar
b r 48
8). [4
4]
•
•
•
•
•
•
•
•
Sam
S
me
e mate
m eria
al ((the
em
me)
N w in stric
Now
s ct tim
t me (no
( o ru
uba
ato
o)
M lod
Mel
dy in
i the
t e (1
1st)) viiolins
T nic pe
Ton
eda
al poin
p nt in
i bas
b ss, no
ot flut
f te
F ster te
Fas
empo
o
N ha
No
arp
A com
Acc
mpa
anime
entt in
n lo
owe
er stri
s ing
gs + woo
w odw
win
nd
D fere
Diff
entt arrtic
cula
atio
on (le
ega
ato,, sttac
ccato))
One ma
On
mark forr each vvaliid obs
o serrva
atio
on up
u to a ttota
al of
o 4 mar
m rks
s.
9
IIn the
ep
pas
ssa
age
e frrom
m ba
b r 71
7 to
t ba
ar 85
8 the
ere
e are
a tw
wo errorrs of rh
hyth
hm
m or
o pitc
p ch.. In
ndiica
ate th
hem
m
i the
in
t es
sco
ore
e, sho
s owiing
g wha
w at yo
y u act
a tua
ally
yh
hea
ar. (Trrac
ck 9 on
o the CD
CD sttarrts at th
he beg
b gin
nniing
g of
o
b r 71).
ba
7 .
[4
4]
Bar 73:
B
7 rhy
yth
hm sh
hou
uld be
e 2 qu
uavvers
s + 2 se
emiiqu
uav
vers
s (n
nott quav
ver, 2 sem
mis,, qu
uav
verr)
B r 80:
Ba
8 top
p note
n e sho
s ould
d be
b C sha
s arp
p, not
n E
One ma
On
mark ea
ach
h fo
or the rig
ghtt po
oint in
n th
he passa
age; one ma
mark ea
ach fo
or a
acc
cura
ate
e co
orre
ecttion
n.
© Ca
amb
brid
dge
e In
nterrnattion
nal Ex
xam
mina
atio
ons
s 20
014
4
Page 5
Mark Scheme
Pre-U – May/June 2014
Syllabus
9800
Paper
11
10 In the passage from bar 85 to bar 103, what use is made of melodic ideas heard earlier?
[4]
•
•
•
•
•
•
Scalic rising 3rd followed by semiquaver triplets in solo Vcl bb 85–87
Bassoon scalic rising 3rd b87, b92
Opening of tune in solo Oboe bb 88–90
Scalic rising 3rd followed by semiquaver triplets in solo Vcl bb 90–92
Opening of tune in solo horn bb 93–95
Cadenza made out of semiquaver triplets in solo oboe bb 96–103
One mark for each valid observation up to a total of 4 marks.
11 Consider the style of this extract in comparison with any other nineteenth-century
orchestral work(s).
[8]
Marks should be awarded using the following scheme:
DESCRIPTORS
MARKS
Answers make detailed comparisons between the extract and the chosen piece(s);
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(s); 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(s). 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(s) 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:
•
•
•
•
•
•
The extract is an example of Programme Music (in this case based on the Tales of the
Arabian Nights)
The music is predominantly lyrical in character
There is a deliberate exoticism about the melodic writing, harmony and orchestration
The extract consists of variations on the theme introduced at b5
There is little organic development and there are no modulations
Despite its exoticism, this work is usually classed as an example of musical Nationalism
© Cambridge International Examinations 2014
Page 6
•
•
Mark Scheme
Pre-U – May/June 2014
Syllabus
9800
Paper
11
The most apt comparisons may be with other Russian music (e.g. Tchaikovsky, other
members of the Kuchka, or other works by Rimsky-Korsakov), and with other composers of
single-movement descriptive or programmatic pieces
Contrasts may be made with composers of symphonies in the Classical tradition (Brahms,
Bruckner, Mahler, etc.) or with any Germanic music in which organic development is a
significant feature.
© Cambridge International Examinations 2014
Page 7
Mark Scheme
Pre-U – May/June 2014
Syllabus
9800
Paper
11
Or Topic B2 Vocal Music: Questions 12–18
Questions 12–18 are based on the skeleton score of part of Absence, from Berlioz’s song cycle Les
nuits d’été, composed in 1840 and orchestrated in 1843. The recording begins on Track 10 of the CD
and Tracks 11, 12, 13, 14 and 15 provide reference points to identify some passages which relate to
particular Questions. The skeleton score is in the accompanying Insert, where it is identified as
Extract 3. A translation of the French text is provided at the bottom of each page of the score.
12 (a) Which of the following accurately identifies the chord in bar 3? Answer by placing a
tick () in one box:
[1]
Diminished 7th
Augmented 6th
Dominant 7th,
3rd inversion
Dominant 7th,
1st inversion
(b) Which of the following identifies the chord on the first beat of bar 4? Answer by
placing a tick () in one box:
[1]
Tonic 1st inversion
Tonic 2nd inversion
Chord VI
Tonic root position
13 In the passage from bar 9 to bar 15, give the bar and beat(s) where each of the following
occurs (Track 11 on the CD starts at the upbeat to bar 9):
(a) The woodwind enter:
Bar 12 Beat 1
[2]
(b) A rising chromatic appoggiatura:
Bar 11 Beat 1
[2]
(c) A falling accented passing note:
Bar 13 Beat 1
[2]
(d) A feminine ending:
Bar 15 Beats 1–2
[2]
© Cambridge International Examinations 2014
Page 8
Mark Scheme
Pre-U – May/June 2014
Syllabus
9800
Paper
11
14 (a) In the passage from bar 16 to bar 22 the singer does not always sing the rhythms as
written. Indicate one example in the score, showing what you actually hear. (Track 12
on the CD starts at the beginning of bar 16).
[2]
Bar 182: Quaver somewhat lengthened (also accept crotchet or dotted quaver)
Bar 201: Pause on 1st beat
Bar 203: Sung as even quavers, not dotted
One mark for a correct observation; one mark for accurate correction.
(b) In the passage from bar 23 to bar 30 there is one error of pitch in the printed voice
part. Indicate this in the score, showing what you actually hear (Track 13 on the CD
starts at the beginning of bar 23).
[2]
Bar 24: last note should be A sharp, not B
One mark for the right point in the passage; one mark for accurate correction.
15 How does the music in bars 16–262 express the meaning of the words? [Between our
hearts, what a distance; so much space between our kisses. O bitter fate! O harsh
absence! O what great desires unfulfilled!] (Track 12 on the CD starts at the beginning of
bar 16).
•
•
•
•
•
•
•
•
•
•
Remoteness of initial D natural after F sharp major cadence
pp dynamic
Sparse texture in bb 16–20
Chromaticism
Repeated quavers in strings from b20 indicate increasing agitation
Accent on 4th quaver of b22
Crescendo to climax at b23
Woodwind join, bb 23–25, at the climax
Diminuendo to end of section
Section ends with unresolved V7 in D sharp minor, painting the word ‘unfulfilled’
One mark for each valid observation up to a total of 4 marks.
© Cambridge International Examinations 2014
Pa
age
e9
Ma
ark
k Sch
S hem
me
e
Prre-U
U – May
M y/J
Jun
ne 20
014
4
Syllab
bus
s
98
800
0
Pa
ape
er
11
16
6 IIn the
e s
sco
ore
e, wr
w ite th
he vo
oca
al m
me
elody
y in
n b
barrs 31–
3 –34
42. (T
Tra
ack
k 14 o
on th
he CD
D s
sta
arts
s afte
a er the
e
p use in bar
pa
b r 26).
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
7 C
Co
omp
pare ba
ars
s 42
2–5
522 with
w h bar
b rs 16–
1 –26
62, no
oting
g an
ny similarrities orr diffe
ere
enc
ces
s. (Tr
( rac
ck 15 on
n
17
t e CD
the
C sta
artts at
a the
t e beg
b ginnin
ng off ba
ar 42
4 an
nd Trrac
ck 12
1 sta
artts at
a the
t e beg
b ginnin
ng off ba
ar 16)). [5
5]
•
•
•
•
•
•
•
•
•
•
Esssen
E
ntia
ally
y the ssam
me
e mus
m ic
B t att a hig
But
ghe
er p
pitc
ch
R ing
Ris
g ch
hro
omatic bas
b ss rath
r her th
han
n fa
allin
ng
A cele
Acc
era
and
do
C rinet (allmo
Cla
ostt) in
n 3rds
3 s with
w h voic
ce
S mila
Sim
ar cre
c sce
end
do to cliima
ax, th
hen
n diminuendo
o
W odwin
Wo
nd sim
milarly ent
e ter at the
e clim
c max
x
R jjus
Rit
st bef
b fore
e cclim
max
x
R pea
Rep
ate
ed qua
q ave
ers
s no
ot in
i stri
s ing
gs but
b t woo
w odw
wind
d
V riou
Var
us diff
fferren
nces of
o har
h rmo
ony
y (c
cre
editt an
ny de
etaiils))
One ma
On
mark forr each vvaliid obs
o serrva
atio
on up
u to a ttota
al of
o 5 mar
m rks
s.
© Ca
amb
brid
dge
e In
nterrnattion
nal Ex
xam
mina
atio
ons
s 20
014
4
Page 10
Mark Scheme
Pre-U – May/June 2014
Syllabus
9800
Paper
11
18 Consider the style of this extract in comparison with any other nineteenth-century song
cycle(s).
[8]
Marks should be awarded using the following scheme:
DESCRIPTORS
MARKS
Answers make detailed comparisons between the extract and the chosen piece(s);
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(s);
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(s). 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(s) 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:
•
•
•
•
•
•
•
•
Les nuits d’été is one of the first (the very first?) French song cycles
It is often claimed as the first orchestral song cycle and the precursor of, e.g., the orchestral
song cycles of Mahler
The orchestra in the extract is modest in size
The music is in a relatively distant key (F sharp major)
It is fairly chromatic in places but does not modulate extensively
The song in the extract explores the theme of lost love
The subject-matter has certain parallels with Beethoven’s An die ferne Geliebte
The most apt comparisons and contrasts are with German song cycles (Schubert,
Schumann, Mahler, etc.), later French song cycles (e.g. Fauré) or other song cycles with
orchestra (e.g. Mahler)
© Cambridge International Examinations 2014