Cambridge Assessment International Education

Cambridge International Advanced Level

MUSIC 9703/11
Paper 1 Listening May/June 2019
MARK SCHEME
Maximum Mark: 1000

Published

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 International will not enter into discussions about these mark schemes.

Cambridge International is publishing the mark schemes for the May/June 2019 series for most
Cambridge IGCSE™, Cambridge International A and AS Level and Cambridge Pre-U components, and
some Cambridge O Level components.

This document consists of 6 printed pages.

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9703/11 Cambridge International A Level – Mark Scheme May/June 2019
PUBLISHED

Generic Marking Principles

These general marking principles must be applied by all examiners when marking candidate answers.
They should be applied alongside the specific content of the mark scheme or generic level descriptors
for a question. Each question paper and mark scheme will also comply with these marking principles.

GENERIC MARKING PRINCIPLE 1:

Marks must be awarded in line with:

• the specific content of the mark scheme or the generic level descriptors for the question
• the specific skills defined in the mark scheme or in the generic level descriptors for the question
• the standard of response required by a candidate as exemplified by the standardisation scripts.

GENERIC MARKING PRINCIPLE 2:

Marks awarded are always whole marks (not half marks, or other fractions).

GENERIC MARKING PRINCIPLE 3:

Marks must be awarded positively:

• marks are awarded for correct/valid answers, as defined in the mark scheme. However, credit
is given for valid answers which go beyond the scope of the syllabus and mark scheme,
referring to your Team Leader as appropriate
• marks are awarded when candidates clearly demonstrate what they know and can do
• marks are not deducted for errors
• marks are not deducted for omissions
• answers should only be judged on the quality of spelling, punctuation and grammar when these
features are specifically assessed by the question as indicated by the mark scheme. The
meaning, however, should be unambiguous.

GENERIC MARKING PRINCIPLE 4:

Rules must be applied consistently e.g. in situations where candidates have not followed
instructions or in the application of generic level descriptors.

GENERIC MARKING PRINCIPLE 5:

Marks should be awarded using the full range of marks defined in the mark scheme for the question
(however; the use of the full mark range may be limited according to the quality of the candidate
responses seen).

GENERIC MARKING PRINCIPLE 6:

Marks awarded are based solely on the requirements as defined in the mark scheme. Marks should
not be awarded with grade thresholds or grade descriptors in mind.

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Question Answer Marks

Section A

General observations: many candidates may address the task obliquely by giving parallel
commentaries that lack direct engagement with significant features and may not answer the question
explicitly. In themselves these may demonstrate a good level of familiarity with the music, which
should be acknowledged accordingly in the mark. Where commentaries are overloaded with surface
features of no particular relevance, the highest mark bands will not be accessible.

1 Write a detailed commentary on the second movement of Mozart’s 35

Symphony No. 39.

A straightforward, linear commentary is acceptable, and some candidates

may well be able to outline the modified sonata form (minus the
development). The principal theme, played by strings homophonically,
contains dotted rhythms and some gentle staccato. A sort of conversation
occurs between lower and upper strings, before a return to the initial
material with altered harmonies and a brief touch of minor. A short linking
section played by woodwinds leads to a louder, more dramatic, minor
theme, still dominated by strings at this stage. The woodwinds then lead a
conversational section similar to that described above. Woodwind
instruments imitate each other, leading a transition to the return of the
principal theme, which sees the woodwinds sharing the limelight, and some
other modifications in texture, and so on.

The level of detail and precision in description will discriminate between

candidates. The description need not be exhaustive, but should highlight
significant features in detail.

Refer to the Band Descriptors and the standardisation scripts in

arriving at your mark.

2 What is the difference between a symphony and a concerto? Refer to 35

specific examples from the Prescribed Works.

Candidates could choose to use either or both of Mozart’s and Beethoven’s

symphonies as examples, and compare these with Haydn’s concerto, with
reference to Sonata/Ritornello Form. The most obvious difference is the
presence of a soloist in a concerto and a double Exposition. Examples of
soloistic use of instruments may be taken from Beethoven’s symphony, and
also similarities, such as the predominance of strings in Mozart’s orchestral
writing.

The choice and description of precise examples will discriminate between

candidates, who will need to show close familiarity with two of the
Prescribed Works (one symphony and Haydn’s concerto) in relation to the
question.

Refer to the Band Descriptors and the standardisation scripts in

arriving at your mark.

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Question Answer Marks

3 Explain some of the ways composers use variation. Make detailed 35

references to examples from two of the Prescribed Works.

A brief overview of the different ways in which composers might vary music
is acceptable, supported by specific examples from the repertoire. The most
obvious choice is Beethoven’s Clarinet Trio, and there are also examples to
be found in the second movements of Beethoven’s Symphony no. 5 and
Mozart’s Symphony no. 39, or indeed anywhere that a composer presents
the same basic musical material in different ways. It is acceptable for
candidates to write about development of musical material, rather than just
variations in ‘Theme and Variations’ form, although this is not necessarily
expected.

Refer to the Band Descriptors and the standardisation scripts in

arriving at your mark.

Section B

4 How does Smetana depict various events in Vltava? Refer to three 35

contrasting scenes.

Candidates need to provide specific examples of how Smetana has

attempted to depict three contrasting scenes. The intertwining rivers at the
start, the horn calls in the hunt, the dance rhythms of the wedding, the
dancing of the nymphs in the moonlight, the tumultuous rapids, and the
broadness of the river as it approaches its mouth provide many
opportunities for candidates to demonstrate understanding.

Refer to the Band Descriptors and the standardisation scripts in

arriving at your mark.

5 How convincingly does Debussy portray the moonlight in Clair de 35

lune? Compare this with any piece relating to ‘moonlight’, which uses
more than one instrument.

Candidates may say either that Debussy’s portrayal is very convincing or

that it is not, so long as musical descriptions and their effects are clear.
Candidates may refer to the use of the higher registers, the use of the pedal
to blur sonorities, some unusual harmonies, and moments of calmness.

The piece chosen for comparison must be for more than one instrument
(i.e.. not solo piano), and candidates need to provide enough musical detail
to make a convincing judgement on its effectiveness. Some may well
choose pop songs, but descriptions will need to go beyond the lyrics.

Refer to the Band Descriptors and the standardisation scripts in

arriving at your mark.

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Question Answer Marks

6 Describe the ways that Berlioz creates a pastoral scene in the third 35
movement of his Symphonie fantastique.

The Scène aux champs uses many pastoral elements, not least the
compound duple time signature and the F major tonality. The shepherds’
calls are a significant event, both at the start and end of the movement, and
the rolling thunder depicted by the four timpani are also relevant to the
outdoor feel. The imagery needs to be convincingly linked to musical
descriptions, which should show close familiarity with the movement. The
idée fixe is not directly relevant to the question, although passing reference
to it may be counted as evidence of familiarity with the music.

Refer to the Band Descriptors and the standardisation scripts in

arriving at your mark.

Section C

7 Discuss whether there is more or less innovation in music today 30

compared with the 18th and 19th centuries.

The Prescribed Works provide some notable examples of innovation,

including Weidinger’s trumpet, for which Haydn’s concerto was written, the
use of clarinets in Mozart’s symphony, and the extended orchestra and
extended forms in Beethoven’s symphony (especially in the third and fourth
movements, without a break between them).

There is plenty of innovation in today’s musical world, with technology

providing some inspiration (technology also had an impact on the
development of instruments in the 18th and 19th centuries), as well as a
more globalised world allowing easier access to the music of other cultures,
and sharing of music between people. On the other hand, many pop songs
follow a proven formula, and more popular classical music (e.g. Einaudi,
Jenkins) has returned to simpler harmonic language. Whatever the position
taken, the best informed candidates will be able to provide a nuanced
exploration of all sides of the issue.

Refer to the Band Descriptors and the standardisation scripts in

arriving at your mark.

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Question Answer Marks

8 Is a conductor necessary in ensemble performances of music? 30

Support your answer with examples from different genres/traditions.

In classical music using a large orchestra, the answer may well be yes,
although there are instances of soloists conducting from the instrument in
concerti. Chamber groups may not need a conductor (indeed, they could
interfere), and there are many non-Western traditions and popular styles
that have never used a conductor, and the function of a conductor might
have been fulfilled by an ensemble member and under a different name.
Some discussion of the role of a conductor would be expected, and their
usefulness as interpreter and time-beater could reasonably be included. The
breadth of examples will discriminate between candidates.

Refer to the Band Descriptors and the standardisation scripts in

arriving at your mark.

9 What is ‘classical’ music and how relevant is it today? Refer to a range 30

of examples from different periods and traditions.

‘Classical’ music might refer to Western art music, or it could refer to various
World Musics, such as classical Indian music. Better informed candidates
might be able to give several pertinent examples. Its relevance to today’s
society might be debated; ‘classical’ music can be very valuable to study, to
understand the origins of more popular music. It also retains a keen
audience, although the view may be taken that it is not relevant and should
be forgotten. Candidates should support any views with examples.

Refer to the Band Descriptors and the standardisation scripts in

arriving at your mark.

10 How is music passed on in different traditions? Discuss a range of 30

practices.

Western music has mostly been passed on through notation, although Folk
music has a predominantly oral tradition. Other cultures have developed
their own notation systems. Jazz music tends to mix the two, with lead
sheets providing a broad guide for musicians to improvise around. Sound
recordings have also been used in more recent times. Candidates may well
venture an opinion on which is better: oral, recorded or written methods. The
range of examples drawn upon will dictate the relative success of
candidates’ responses.

Candidates may also interpret the question as being about how music is
communicated or shared.

Refer to the Band Descriptors and the standardisation scripts in

arriving at your mark.

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