Scheme of Work
Cambridge IGCSE™ / Cambridge IGCSE (9–1)
Music 0410 / 0978
For examination from 2023
© Cambridge University Press & Assessment 2022 v1
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Contents
Contents ........................................................................................................................................................................................................................ 3
Introduction .................................................................................................................................................................................................................... 4
General listening skills ................................................................................................................................................................................................... 7
Classical ........................................................................................................................................................................................................................ 9
Romantic ..................................................................................................................................................................................................................... 12
Baroque ....................................................................................................................................................................................................................... 15
Twentieth Century ........................................................................................................................................................................................................ 18
World music (general) .................................................................................................................................................................................................. 21
Set works and World Focus ......................................................................................................................................................................................... 25
Performing ................................................................................................................................................................................................................... 27
Composing................................................................................................................................................................................................................... 28
Scheme of Work
Introduction
This scheme of work has been designed to support you in your teaching and lesson planning. Making full use of this scheme of work will help you to improve both
your teaching and your learners’ potential. It is important to have a scheme of work in place in order for you to guarantee that the syllabus is covered fully. You
can choose what approach to take and you know the nature of y our institution and the levels of ability of your learners. What follows is just one possible approach
you could take and you should always check the syllabus for the content of your course.
Suggestions for independent study (I) and formative assessment (F) are also included. Opportunities for differentiation are indicated as Extension activities; there is
the potential for differentiation by resource, grouping, expected level of outcome, and degree of support by teacher, throughout the scheme of work. Timings for
activities and feedback are left to the judgment of the teacher, according to the level of the learners and size of the class. Length of time allocated to a task is another
possible area for differentiation.
Guided learning hours
Guided learning hours give an indication of the amount of contact time you need to have with your learners to deliver a course. Our syllabuses are designed around
130 hours for Cambridge IGCSE courses. The number of hours may vary depending on local practice and your learners’ previous experience of the subject. The
table below give some guidance about how many hours we recommend you spend on each topic area.
Topic
Suggested teaching time (%)
Suggested teaching order
Performing
40 hrs (30% of the course)
Ongoing
Composition
40 hrs (30% of the course)
Ongoing
Listening
50 hrs (40% of the course)
Ongoing
Resources
Suggested resources are listed at the School Support Hub. These have not been through the Cambridge quality process but have been found suitable for use with
various parts of the syllabus by teachers. This resource list includes website links providing direct access to internet resources. Cambridge is not responsible for the
accuracy or content of information contained in these website. In addition to reading the syllabus, teachers should refer to the updated specimen assessment
materials. Tools to support remote teaching and learning – Click here to find out about and explore the various online tools available for teachers and learners.
School Support Hub
The School Support Hub is a secure online resource bank and community forum for Cambridge teachers, where you can download specimen and past question
papers, mark schemes and other teaching and learning resources. We also offer online and face-to-face training; details of forthcoming training opportunities are posted
online. This scheme of work is available as PDF and an editable version in Microsoft Word format; both are available on the School Support Hub. If you are unable to
use Microsoft Word you can download Open Office free of charge from www.openoffice.org
4
Scheme of Work
Websites
This scheme of work includes website links providing direct access to internet resources. Cambridge Assessment International Education 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 website pages referenced in 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.
5
Scheme of Work
How to get the most out of this scheme of work – integrating syllabus content, skills and teaching strategies
We have written this scheme of work for the Cambridge IGCSE Music syllabus and it provides some ideas and suggestions of how to cover the content of the
syllabus. We have designed the following features to help guide you through your course.
Learning objectives help your learners by making it
clear the knowledge they are trying to build. Pass
these on to your learners by expressing them as ‘We
are learning to / about…’.
Syllabus ref.
Learning objectives
Suggested teaching activities
Content of
Component 1
•
Mozart: Rondo from Horn Concerto No. 4
Rudiments
Melody and
Learners should
develop
knowledge and
understanding of:
o concerto form
characteristics of
a concerto
Extension activities
rhythm provide your
more able learners with further
challenge beyond the basic content of
the course. Innovation and
independent learning are the basis of
these activities.
Suggested teaching activities give you lots of
ideas about how you can present learners with
new information without teacher talk or videos.
Try more active methods which get your
learners motivated and practising new skills.
Independent
study (I) gives
•
As a basic listening activity, learners could be asked to identify some different features of the music: e.g. scale
learners
/ key (major), main instrument (horn), accompaniment (small orchestra), number of beats per bar /your
measure
(2
the opportunity
or 4) etc. (I)
to develop their
•
Extension activity: explore some of these areas further: e.g. there are 2 or 4 beats per bar / measure,
but in and
own ideas
compound time rather than simple time. The texture (melody and accompaniment / homophonic) and the
understanding
regular phrase lengths should be identified. (I)
with direct input
Learners should be taught about the characteristic features of a concerto.
from you.
Play a recording of the Rondo from Mozart’s Horn Concerto No. 4 – initially, just the opening rondo theme.
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
Past and specimen papers
Formative assessment (F) is on-going assessment
Past papers, specimen papers and mark schemes
which informs you about the progress of your learners.
papers and
(F) to leave time to review what your learners
are available forPast/specimen
you to download
at: mark schemes are available to download at www.cambridgeinternational.org/support
Don’t forget
Nov 2011
Paper 11 Q1
www.cambridgeinternational.org/support
have
learnt,
you could try question and answer, tests,
Jun 2012
Paper 12 Q1
quizzes,
‘mind
maps’, or ‘concept maps’. These kinds of
Nov 2012
Paper 12 Q1 (a) and (b)
Using these resources with your learners allows you to
activities can be found in the scheme of work.
check their progress and give them confidence and
understanding.
6
Scheme of Work
General listening skills
Syllabus ref.
Learning objectives
Suggested teaching activities
Subject Content
Learners should
develop knowledge
of recognising and
describing music
they listen to using
musical vocabulary.
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.
Rudiments
Melody and
rhythm
Harmony
Ensembles and
instruments /
voices
Instrumental
and / or vocal
effects
Structure
Compositional
devices
Texture
Developing these general listening skills could form an integral part of every listening lesson. For example, 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.
Ask your learners to describe the melodic shape and metre:
• Does it move mostly by step or leap?
• Do the intervals ascend or descend?
• How many beats are there in each bar/measure?
This could then lead into regular practice of melodic or rhythmic dictation (in preparation for Section C of the
examination).
Write out the main melody but leave some notes out.
• 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. (I)
• 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. (I)
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. (I) 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.
7
Scheme of Work
Syllabus ref.
Learning objectives
Suggested teaching activities
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. (F)
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.
Key Signature Chart: http://musicmattersblog.com/wp-files/KeySignatureChart.pdf
Rudiments Practice: www.musicca.com/exercises
Time Signatures Exercises: www.musicfun.com.au/pdf_files/time_signatures.pdf
Past and specimen papers
Past/specimen papers and mark schemes are available to download at www.cambridgeinternational.org/support (F)
8
Scheme of Work
Classical
Syllabus ref.
Learning objectives
Suggested teaching activities
Subject Content
Learners should
develop knowledge
and understanding
of:
o rondo form
o characteristics
of a concerto
o stylistic
features of
classical music
o different styles
of concertos
Mozart: Rondo from Horn Concerto No. 4
Rudiments
Melody and
rhythm
Ensembles and
instruments
Structure
Texture
Genre
Play a recording of the Rondo from Mozart’s Horn Concerto No. 4 – initially, just the opening rondo theme.
• 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. (I)
• Extension activity: 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. (I)
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. (I)
• Extension activity: learners identify these sections themselves, recognising when themes return and/or
exploring contrasts between the episodes and the rondo theme. (I)
Learners should be taught about the characteristic features of a concerto.
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
Subject Content
Rudiments
Melody and
rhythm
Harmony
Learners should
develop knowledge
and understanding
of:
o characteristics
of a minuet
and trio
Haydn: Minuet and Trio from String Quartet in B flat, Op. 50, No. 1
Play a recording of the Minuet and Trio (Poco allegretto) from Haydn’s String Quartet in B flat – initially, just the Minuet.
Score: http://ks4.imslp.info/files/imglnks/usimg/f/ff/IMSLP05805-Haydn_-_Op._50,_No._1.pdf
•
•
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). (I)
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. (I)
9
Scheme of Work
Syllabus ref.
Ensembles and
instruments
Genre
Learning objectives
o stylistic
features of
classical
music
o different styles
of string
quartets
Suggested teaching activities
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. (I)
• Extension activity: 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. (I)
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. (I)
Comparing different styles: Shostakovich: String Quartet No. 8
Subject Content
Rudiments
Melody and
rhythm
Harmony
Ensembles and
instruments
Structure
Compositional
devices
Genre
Learners should
develop knowledge
and understanding
of:
o characteristics
of a sonata
o stylistic
features of
classical
music
o musical
devices such
as Alberti
bass and
sequence
o simple
harmony
o different styles
of sonatas
Mozart: Allegro from Piano Sonata in C, K. 545
Play a recording of the Allegro from Mozart’s Piano Sonata in C – initially just the exposition (bars/measures 1–28).
Score: http://ks4.imslp.info/files/imglnks/usimg/a/a9/IMSLP56442-PMLP01855Mozart_Werke_Breitkopf_Serie_20_KV545.pdf
•
•
Learners 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/measures 5–8). (I)
Teach learners to recognise the use of the three primary triads in the opening bars/measures. (I)
Now play the development section as well (bars/measures 28–41).
• Extension activity: learners 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). (I)
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. (I)
Teach learners about the characteristic features of a sonata.
10
Scheme of Work
Syllabus ref.
Learning objectives
Suggested teaching activities
Link to performing: if any learners are learning a sonata, they could perform it to the whole class. Ask
the class to compare similarities and differences between the pieces. (I)
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. (F)
Revision and self-study
The Classic FM website contains further listening examples and information about the characteristics of the classical period.
www.classicfm.com/discover-music/periods-genres/classical/
Past and specimen papers
Past/specimen papers and mark schemes are available to download at www.cambridgeinternational.org/support (F)
11
Scheme of Work
Romantic
Syllabus ref.
Learning objectives
Suggested teaching activities
Subject Content
Learners should
develop knowledge
and understanding
of:
o characteristics
of a march
and symphony
o stylistic
features of
romantic
music
o different
instrumental
sounds
o different styles
of marches
Beethoven: Funeral March from Symphony No. 3, Eroica
Rudiments
Melody and
rhythm
Harmony
Ensembles and
instruments
Texture
Genre
Play a recording of Beethoven’s Marcia Funebre (Funeral March) from Symphony No. 3, Eroica.
Score: http://ks4.imslp.info/files/imglnks/usimg/e/e2/IMSLP13851-Beethoven__Symphony_No.3,_Mvt.II_(ed._Unger).pdf
•
•
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.
(I)
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. (I)
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 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 starting point. This will help them to identify instruments
more accurately in listening questions. (I)
A guide to the orchestra: www.bbc.co.uk/orchestras/learn/guidetotheorchestra/
12
Scheme of Work
Syllabus ref.
Learning objectives
Suggested teaching activities
Subject Content
Learners should
develop knowledge
and understanding
of:
o characteristics
features of
romantic
piano music
o ternary
structure
o different styles
of piano music
Chopin Étude in E, Op. 10, No. 3
Rudiments
Melody and
rhythm
Harmony
Ensembles and
instruments
Structure
Play a recording of Chopin’s Étude in E, Op. 10, No. 3 Etude in E – initially the opening section, stopping before poco
piu animato.
Score: http://imslp.eu/files/imglnks/euimg/b/b5/IMSLP480087-PMLP1969-Chopin_Etude_Casella.pdf
•
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. (I)
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. (I)
Finally, play the whole work; ask learners to identify the structure of the piece as a whole (ternary). (I)
•
•
Texture
Genre
As a more challenging listening activity, explore some of the chromatic harmony of this piece.
Extension activity: learners describe how the dynamic markings contribute to the character of this music. (I)
Comparing different styles: György Ligeti: Études
Subject Content
Rudiments
Melody and
rhythm
Harmony
Ensembles and
instruments
Instrumental
effects
Texture
Genre
Learners should
develop knowledge
and understanding
of:
o characteristics
of a waltz
o stylistic
features of
romantic
music
o metre
o different styles
of waltz
Johann Strauss: Roses from the South
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.
Score: http://ks.imslp.net/files/imglnks/usimg/6/6f/IMSLP64335-PMLP22613-Strauss,_Johann__Roses_in_the_South,_Op._388_(orch._score).pdf
•
•
•
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 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. (I)
Now play the second waltz, starting on page 15. Learners compare the similarities and differences between
this section and the first. (I)
More challenging listening activities could use the score to help identify the key, cadences and modulations. (I)
Comparing different styles: Ravel: Valses nobles et sentimentales.
13
Scheme of Work
Syllabus ref.
Learning objectives
Suggested teaching activities
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. (F)
Revision and self-study
The Classic FM website contains further listening examples and information about the characteristics of the romantic period.
www.classicfm.com/discover-music/periods-genres/romantic/
Past and specimen papers
Past/specimen papers and mark schemes are available to download at www.cambridgeinternational.org/support (F)
14
Scheme of Work
Baroque
Syllabus ref.
Learning objectives
Suggested teaching activities
Subject Content
Learners should
develop knowledge
and understanding
of:
o characteristics
of an aria
o ground bass
o melisma and
vocal style
o stylistic
features of
baroque
music
o different styles
of aria
Purcell: Ah, Belinda from Dido and Aeneas
Rudiments
Melody and
rhythm
Ensembles and
instruments /
voices
Vocal effects
Structure
Play a recording of Ah, Belinda from Dido and Aeneas.
Score: http://ks.imslp.net/files/imglnks/usimg/1/17/IMSLP36466-PMLP05472-Purcell-Z626vsNov.pdf (pages 5–7)
•
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. (I)
Ah, Belinda is structured over a ground bass. Explain the concept of ground bass, and then play the recording again.
•
•
Genre
As a basic listening activity, learners identify how many times they hear the ground bass. (I)
Extension activity: 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. Teach learners about the characteristic features of opera. (I)
Link to composing: ask learners to compose (or give them) a short ground bass and then create
some melodic phrases to perform against the repeating bass line. Composing a ground bass will help to
internalise its characteristics. (I)
Comparing different styles: Puccini: Nessun Dorma
Subject Content
Rudiments
Melody and
rhythm
Harmony
Learners should
develop knowledge
and understanding
of:
o characteristics
of a concerto
o ritornello
structure
o instrumental
techniques
Vivaldi: Autumn from The Four Seasons
Play a recording of the final movement of Autumn from The Four Seasons.
Score: http://ks.imslp.net/files/imglnks/usimg/4/42/IMSLP11099-AutumnScore_Vivaldi.pdf (pages 13–23)
•
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
15
Scheme of Work
Syllabus ref.
Ensembles and
instruments
Instrumental
effects
Learning objectives
o stylistic
features of
baroque
music
o different styles
of concerto
Suggested teaching activities
•
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. (I)
As a more challenging listening activity, teach learners to recognise the modulation to the dominant key in the
middle section of the movement. Learners compare the similarities and differences between the different
episodes and/or the ritornello theme. (I)
Structure
Vivaldi’s music is based on a poem about the four seasons.
Compositional
devices
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. (I)
Genre
Teach learners about the characteristic features of a baroque concerto.
Comparing different styles: Bruch: Violin Concerto
Subject Content
Rudiments
Melody and
rhythm
Harmony
Ensembles and
instruments /
voices
Vocal effects
Texture
Genre
Learners should
develop knowledge
and understanding
of:
o characteristics
of an oratorio,
including
recitative, aria
and chorus
o polyphonic
texture
o vocal ranges
o metre
o stylistic
features of
baroque
music
o different styles
of aria
Handel: Messiah
Play a recording of the recitative Behold, a virgin shall conceive. Teach learners to recognise the characteristics of
recitative.
Score: http://ks.imslp.net/files/imglnks/usimg/4/4d/IMSLP10705-Part_1a.pdf (page 43)
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. (I)
• More challenging listening activities could use the score to help identify the key, cadences and modulations. (I)
Now play the chorus section which follows the solo. Listening activities could focus on the texture, which is initially
polyphonic before becoming homophonic. Learners should be taught about the characteristic features of an oratorio. (I)
Comparing different styles: Mendelssohn: Elijah
16
Scheme of Work
Syllabus ref.
Learning objectives
Suggested teaching activities
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. (F)
Revision and self-study
The Classic FM website contains further listening examples and information about the characteristics of the baroque period.
www.classicfm.com/discover-music/periods-genres/baroque/
Past and specimen papers
Past/specimen papers and mark schemes are available to download at www.cambridgeinternational.org/support (F)
17
Scheme of Work
Twentieth Century
Syllabus ref.
Learning objectives
Suggested teaching activities
Subject content
Learners should
develop knowledge
and understanding
of:
o characteristics
of
impressionist
music
o texture
o different
instrumental
sounds
o stylistic
features of
twentieth
century music
Debussy: Prélude à l’après-midi d’un faune
Melody and
rhythm
Ensembles and
instruments
Instrumental
effects
Texture
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).
Score: http://ks.imslp.net/files/imglnks/usimg/4/40/IMSLP14736-Debussy__Pr%C3%A9lude_%C3%A0_l'apr%C3%A8s-midi_d'un_faune_(orch._score).pdf
•
•
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. (I)
As a more challenging listening activity, ask learners to 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). (I)
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. Discuss the concept of impressionism by showing paintings such as Monet’s
Gare St Lazare. (I)
Teach learners 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. (I)
Subject Content
Melody and
rhythm
Ensembles and
instruments
18
Learners should
develop knowledge
and understanding
of:
o characteristics
of neoclassical
music
Prokofiev: Allegro from Symphony No. 1, Classical
Play a recording of the first movement (Allegro) of Prokofiev’s Symphony No. 1. (The score is still copyright in most
countries.)
•
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. (I)
Scheme of Work
Syllabus ref.
Texture
Genre
Subject Content
Melody and
rhythm
Ensembles and
instruments /
voices
Texture
Genre
Learning objectives
o texture
o different
instrumental
sounds
o stylistic
features of
twentieth
century music
Learners should
develop knowledge
and understanding
of:
o characteristics
of jazz and
musicals
o syncopation
o stylistic
features of
twentieth
century music
Suggested teaching activities
•
As a more challenging listening activity they could be asked to describe in detail the texture of the music in
different passages. (I)
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 neoclassical music. (I)
Comparing different styles: Beethoven: Symphony No. 5 in C minor
Gershwin: I got 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). (The sheet music is still copyright in most countries, but is found in song collections.)
•
•
As a basic listening activity, ask learners 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 – 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. (I)
Extension activity: play one or two more different performances of the same piece. Ask learners to compare
the different ways the song is performed. (I)
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. Ask learners to identify the jazz elements that they hear in the music. (I)
Subject Content
Melody and
rhythm
Ensembles and
instruments
Texture
Learners should
develop knowledge
and understanding
of:
o characteristics
of minimalism
o musical
devices such
as ostinato
o texture
Reich: Six Pianos
Play a recording (or even better still, watch a video – there are plenty online) of Reich’s Six Pianos. (The score is
copyright.)
•
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. (I)
19
Scheme of Work
Syllabus ref.
Learning objectives
o stylistic
features of
twentieth
century music
Suggested teaching activities
•
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. (I)
Teach learners about the characteristic features of minimalism.
Link to performing: 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. (F)
Revision and self-study
The Classic FM website contains further listening examples and information about the characteristics of twentieth century music.
www.classicfm.com/discover-music/periods-genres/modern/
The BBC GCSE Bitesize website contains further information on minimalism:
www.bbc.co.uk/bitesize/guides/z99x6sg/revision/1
Past and specimen papers
Past/specimen papers and mark schemes are available to download at www.cambridgeinternational.org/support (F)
20
Scheme of Work
World Music
Syllabus ref.
Learning objectives
Suggested teaching activities
Subject Content
Learners should
develop knowledge
and understanding
of:
o characteristic
features of
African music
and Arab
music,
including
recognition of
the named
instruments
African Music and Arabic Music
Melody and
rhythm
Ensembles and
instruments
Compositional
devices
Texture
Learners should be taught to recognise the sound of the following specific instruments:
• Rabāb
• Kora
• Xylophone
• ‘Ūd.
Learners should also be familiar with the following general characteristics of music from this part of the world:
• Syncopation
• Polyrhythm
• Ostinato
• Call and response
• Parallel harmony (African music only)
• Heterophony (Arabic music only).
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. (I)
Revision and self-study
Learners could explore the sections on African and Middle Eastern music from the BBC GCSE Bitesize website:
www.bbc.co.uk/bitesize/guides/z2xbgk7/revision/1
www.bbc.co.uk/bitesize/guides/z3r2mp3/revision/4
Subject Content
Melody and
rhythm
Learners should
develop knowledge
and understanding
of:
Latin American Music
Latin America is a large continent with many musical styles, but learners do not need to be able to identify music from
specific Latin American countries. As a guide, exploring Tango (Argentina), music for panpipes (Andes) and Mariachi
music (Mexico) will introduce many of the characteristic features of Latin American in general.
21
Scheme of Work
Syllabus ref.
Ensembles and
instruments
Texture
Learning objectives
o characteristic
features of
Latin
American
music,
including
recognition of
the named
instruments
Suggested teaching activities
Learners should be taught to recognise the sound of the following specific instruments:
• Bandoneon
• Pan-pipes
• Charango
• Guitar.
Learners 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. (I)
Revision and self-study
Learners could explore the section on Latin American music from the BBC GCSE Bitesize website:
www.bbc.co.uk/bitesize/guides/z3r2mp3/revision/3
Subject Content
Melody and
rhythm
Ensembles and
instruments
Instrumental
effects
Learners should
develop knowledge
and understanding
of:
o characteristic
features of
Chinese
music,
including
recognition of
the named
instruments
Chinese Music
Learners should be taught to recognise the sound of the following specific instruments:
• Ch’in
• Dizi
• Erh-hu.
Learners 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. (I)
Revision and self-study
Learners could explore the section on Chinese music from the BBC GCSE Bitesize website:
www.bbc.co.uk/bitesize/guides/z3r2mp3/revision/2
22
Scheme of Work
Syllabus ref.
Learning objectives
Suggested teaching activities
Subject Content
Learners should
develop knowledge
and understanding
of:
o characteristic
features of
Indian music,
including
recognition of
the named
instruments
Indian Music
Melody and
rhythm
Ensembles and
instruments
Instrumental
effects
Texture
Learners should be taught to recognise the sound of the following specific instruments:
• Bansuri
• Sitar
• Sārangī
• Tablā.
Learners should also be familiar with the following general characteristics of music from this part of the world:
• Texture (melody and drone)
• Pitch bending
• Ornaments.
In addition to listening activities, learners could compose some short melodies based on a raga. (I) Some examples of
ragas can be found here: www.eastwestslide.com/indian-music/
Revision and self-study
Learners could explore the section on Indian music from the BBC GCSE Bitesize website:
www.bbc.co.uk/bitesize/guides/zsydwmn/revision/1
Subject Content
Ensembles and
instruments
Texture
• Learners should
develop
knowledge and
understanding of:
o characteristic
features of
Indonesian
music,
including
recognition of
the named
instruments
Indonesian Music
Learners should be taught to recognise the sound of the main Indonesian ensemble:
• Gamelan
Learners 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 perform a simple gamelan piece using classroom percussion
instruments. An example project can be found here:
www.teachsecondary.com/humanities/view/lesson-plan-ks3-4-music-introducing-gamelan
Revision and self-study
Learners could explore the section on Gamelan from the BBC GCSE Bitesize website:
www.bbc.co.uk/bitesize/guides/z3r2mp3/revision/1
23
Scheme of Work
Syllabus ref.
Learning objectives
Suggested teaching activities
Subject Content
Learners should
develop knowledge
and understanding
of:
o characteristic
features of
Japanese
music,
including
recognition of
the named
instruments
Japanese Music
Ensembles and
instruments
Texture
Learners should be taught to recognise the sound of the following specific instruments:
• Shakuhachi
• Koto
• Shō
Learners should be familiar with Gagaku music and music for a small ensemble.
Learners 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 perform some Japanese melodies. (I)
Playing videos is a good way for learners to become familiar with the instruments used in World Music.
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. (F)
Past and specimen papers
Past/specimen papers and mark schemes are available to download at www.cambridgeinternational.org/support (F)
24
Scheme of Work
Set works and World Focus
Set works
Various scores of these works are available, including some free online. Whilst any full score version would be fine for candidates to use for study, an edition
without bar numbers will need to have these added.
The Cambridge website contains detailed notes for guidance on the Set Works in the Teachers’ Guide to set works and the World Focus:
www.cambridgeinternational.org/programmes-and-qualifications/cambridge-igcse-music-0410/. 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 and past papers indicates the style of questions that may be asked for the Set Work.
EITHER
For examination in 2023
Haydn: Symphony No. 100, Hob. I/100 Military: Movements 3 and 4
OR
Brahms: Academic Festival Overture
EITHER
For examination in 2024
Beethoven: Symphony No. 5 in C minor: Movements 1 and 2
OR
Wagner: The Mastersingers of Nuremburg – Overture
EITHER
For examination in 2025
Beethoven: Symphony No. 5 in C minor: Movements 3 and 4
OR
Haydn: Trumpet Concerto in E flat
25
Scheme of Work
World Focus
The Cambridge website contains very detailed notes for guidance on World Music in the 2025 Teachers’ Guide to set works and the World Focus:
www.cambridgeinternational.org/programmes-and-qualifications/cambridge-igcse-music-0410/.
These notes explain the range of knowledge expected in this section.
Effective teaching and learning strategies could include the use of videos (e.g. from YouTube) and learner projects / presentations about world music. (I)(F)
Section B3 of the specimen and past papers indicates the style of questions that may be asked for the World Focus.
For examination in 2023
Indian Music
For examination in 2024
Latin American Music
For examination in 2025
Chinese Music
26
Scheme of Work
Performing
Guidance and 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. (I)
•
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. (I)
•
Find compositional devices in music from any style that your learners are playing. (I)
•
Learners perform their own and each other’s compositions. (I)
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 www.cambridgeinternational.org
27
Scheme of Work
Composing
Guidance and 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, teach learners how to handle simple chord sequences and cadences, and introduce 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 www.cambridgeinternational.org
28
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