Scheme of Work

Cambridge IGCSE™ / Cambridge IGCSE (9–1)

Music 0410 / 0978
For examination from 2020

Version 2
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Contents

Contents ....................................................................................................................................................................................................... 3
Introduction ................................................................................................................................................................................................... 4
1: General listening skills .............................................................................................................................................................................. 7
2: Music in the Classical period .................................................................................................................................................................... 9
3: Music in the Romantic period .................................................................................................................................................................. 12
4: Baroque music ........................................................................................................................................................................................ 15
5: Twentieth-century ................................................................................................................................................................................... 18
6: World music (general) ............................................................................................................................................................................. 21
7: World focus and Set Work ...................................................................................................................................................................... 25
8: Performing (ongoing) .............................................................................................................................................................................. 28
9: Composing (ongoing).............................................................................................................................................................................. 29
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 your 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 h (30% of the course) Ongoing

Composition 40 h (30% of the course) Ongoing

Listening 50 h (40% of the course) Ongoing

Resources
Suggested resources are listed at School Support Hub at www.cambridgeinternational.org/support. 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.

4
 Scheme of Work
School Support Hub
The School Support Hub www.cambridgeinternational.org/support 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 at www.cambridgeinternational.org/support. If you are unable to use Microsoft Word you can download Open Office free of charge from
www.openoffice.org

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 Suggested teaching activities give you lots of
clear the knowledge they are trying to build. Pass ideas about how you can present learners with
these on to your learners by expressing them as ‘We new information without teacher talk or videos.
are learning to / about…’. Try more active methods which get your
learners motivated and practising new skills.
Syllabus ref. Learning objectives Suggested teaching activities

Content of • Learners should Mozart: Rondo from Horn Concerto No. 4

Component 1 develop
knowledge and Play a recording of the Rondo from Mozart’s Horn Concerto No. 4 – initially, just the opening rondo theme. Independent
Rudiments understanding of: study (I) gives
o concerto form • As a basic listening activity, learners could be asked to identify some different features of the music: e.g. scale
Melody and characteristics of your
/ key (major), main instrument (horn), accompaniment (small orchestra), number of beats per bar / measure learners
(2
Extension activities
rhythm provide your a concerto or 4) etc. (I) the opportunity
more able learners with further to develop their
challenge beyond the basic content of • Extension activity: explore some of these areas further: e.g. there are 2 or 4 beats per bar / measure,
own but in and
ideas
compound time rather than simple time. The texture (melody and accompaniment / homophonic) and the
the course. Innovation and regular phrase lengths should be identified. (I)
understanding
independent learning are the basis of with direct input
these activities. Learners should be taught about the characteristic features of a concerto. from you.

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.
are available forPast/specimen
you to download at: mark schemes are available to download at www.cambridgeinternational.org/support
papers and (F) to leave time to review what your learners
Don’t forget
Nov 2011 Paper 11 Q1
www.cambridgeinternational.org/support
Jun 2012 Paper 12 Q1
have learnt, you could try question and answer, tests,
Nov 2012 Paper 12 Q1 (a) and (b) quizzes, ‘mind maps’, or ‘concept maps’. These kinds of
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

1: General listening skills

Syllabus ref. Learning objectives Suggested teaching activities

Subject • Learners should There are certain combinations of musical features that allow us to identify music as coming from different points in time
Content develop knowledge or from different places in the world, and these are explored in Units 2-6. However, no matter where or when it comes
of recognising and from, virtually all music consists of melody, rhythm, structure and texture and is performed by ensembles and
Rudiments describing music instruments or voices. Much of the music your learners will be listening to will also contain examples of the harmony,
they listen to using instrumental and / or vocal effects and compositional devices that are listed in the syllabus and learners should be given
Melody and musical vocabulary. regular practice throughout the course in identifying these in a range of music from different times and places.
rhythm
Developing these general listening skills could form an integral part of every listening lesson. For example, you could
Harmony 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
Ensembles instrument.
and
You could ask your learners to describe the melodic shape and metre:
instruments /
voices • Does it move mostly by step or leap?
• Do the intervals ascend or descend?
Instrumental • How many beats are there in each bar / measure?
and / or vocal
effects This could then lead into regular practice of melodic or rhythmic dictation (in preparation for Section C of the
examination).
Structure You could 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
Composition repeated notes. (I)
al devices
• As your learners become more proficient at this exercise, you can make the exercises more challenging by
Texture 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

2: Music in the Classical period

Syllabus ref. Learning objectives Suggested teaching activities

Subject • Learners should Mozart: Rondo from Horn Concerto No. 4

Content develop knowledge
Play a recording of the Rondo from Mozart’s Horn Concerto No. 4 – initially, just the opening rondo theme.
and understanding
Rudiments • As a basic listening activity, learners could be asked to identify some different features of the music: e.g. scale /
of:
o rondo form key (major), main instrument (horn), accompaniment (small orchestra), number of beats per bar / measure (2 or
Melody and o characteristics of 4) etc. (I)
rhythm a concerto • Extension activity: explore some of these areas further: e.g. there are 2 or 4 beats per bar / measure, but in
o stylistic features compound time rather than simple time. The texture (melody and accompaniment / homophonic) and the
Ensembles of classical regular phrase lengths should be identified. (I)
and music
instruments o different styles of Now investigate the structure: explain to learners that labelling distinct sections as A, B etc. helps to identify structure.
concertos • As a basic listening activity, play the rondo theme (A), first episode (B), and return of the theme (A): this is an
Structure example of ternary structure. Having established this concept, play the whole recording to identify the rondo
structure. (I)
Texture
• Extension activity: ask learners to identify these sections themselves, recognising when themes return, and /
Genre 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 • Learners should Haydn: Minuet and Trio from String Quartet in B flat, Op. 50, No. 1
Content develop knowledge
Play a recording of the Minuet and Trio (Poco allegretto) from Haydn’s String Quartet in B flat – initially, just the Minuet.
and understanding
Score: http://ks4.imslp.info/files/imglnks/usimg/f/ff/IMSLP05805-Haydn_-_Op._50,_No._1.pdf
Rudiments of:
o characteristics • As a basic listening activity, learners could be asked to identify some different features of the music: e.g. scale /
Melody and of a minuet and key (major), instruments (strings), number of beats per bar / measure (3). (I)
rhythm trio • 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. Learning objectives Suggested teaching activities

Harmony o stylistic features

Now play the recording of the Trio as well.
of classical
Ensembles music • As a basic listening activity, learners could be asked to describe some of the similarities and differences
and o different styles between the minuet and the trio. (I)
instruments of string • Extension activity: explore the use of syncopation found in the second half of the trio. Using a copy of the
quartets score, learners could be asked to identify some features of the music in more detail: e.g. key (B flat major) and
Genre 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 • Learners should Mozart: Allegro from Piano Sonata in C, K. 545

Content develop knowledge
Play a recording of the Allegro from Mozart’s Piano Sonata in C – initially just the exposition (bars / measures 1–28).
and understanding
Rudiments of:
Score: http://ks4.imslp.info/files/imglnks/usimg/a/a9/IMSLP56442-PMLP01855-
o characteristics
Mozart_Werke_Breitkopf_Serie_20_KV545.pdf
Melody and of a sonata
rhythm o stylistic features • Ask learners to identify some different features of the music: e.g. scale / key (major), instrument (piano), number
of classical of beats per bar / measure (4). This piece provides excellent examples of Alberti bass (e.g. bars / measures 1–4
Harmony music etc.) and sequence (e.g. bars / measures 5–8). (I)
o musical devices
Ensembles • Teach learners to recognise the use of the three primary triads in the opening bars / measures. (I)
such as Alberti
and bass and Now play the development section as well (bars / measures 28–41).
instruments sequence • Extension activity: ask learners to explore the music in this section; using the score, they should look at the
o simple harmony different ways in which Mozart develops the themes introduced in the exposition (e.g. presenting themes in the
Structure o different styles
of sonatas minor key). (I)
Composition Finally, play the recapitulation (bar / measure 42 to end), asking learners to observe similarities and differences with the
al devices exposition, and noting the overall ternary structure. (I)
Genre 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

3: Music in the Romantic period

Syllabus ref. Learning objectives Suggested teaching activities

Subject • Learners should Beethoven: Funeral March from Symphony No. 3, Eroica
Content develop knowledge
Play a recording of Beethoven’s Marcia Funebre (Funeral March) from Symphony No. 3, Eroica.
and understanding
Rudiments of:
Score: http://ks4.imslp.info/files/imglnks/usimg/e/e2/IMSLP13851-Beethoven_-_Symphony_No.3,_Mvt.II_(ed._Unger).pdf
o characteristics
Melody and of a march and • As a basic listening activity, learners could be asked to identify some different features of the music: e.g. scale /
rhythm symphony key (minor), instruments (symphony orchestra), texture (melody and accompaniment / homophonic), number of
o stylistic features beats per bar / measure (2 or 4) etc. The very distinctive character of this music could be discussed. (I)
Harmony of romantic
• More challenging listening activities could ask learners to identify the individual instruments which are heard at
music
Ensembles o different different points in the movement (e.g. the oboe solo in bar / measure 9 onwards). Using the score, learners
and instrumental could identify the key, cadences and modulations. (I)
instruments sounds
Learners should be taught about the characteristic features of a march and a symphony.
o different styles
Texture of marches
Link to performing: create an arrangement of a march that can be played by your learners. Write out
Genre parts in appropriate keys for the different instruments that your learners play. Performing a march will
help to internalise its characteristics.

Comparing different styles: Walton: Crown Imperial

Project: the instruments of the orchestra

In groups, learners could investigate the instruments of the symphony orchestra, perhaps by taking one instrument or
instrumental family per group. They could give a presentation with music examples about their instrument or instrumental
family, looking at its history and development, and use as a solo instrument as well as in the orchestra. The link to the
BBC orchestra’s website may provide a good 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/

Subject • Learners should Chopin Étude in E, Op. 10, No. 3

Content develop knowledge

12
 Scheme of Work

Syllabus ref. Learning objectives Suggested teaching activities

Rudiments and understanding Play a recording of Chopin’s Étude in E, Op. 10, No. 3 Etude in E – initially the opening section, stopping before poco piu
of: animato.
Melody and o characteristics
rhythm features of Score: http://imslp.eu/files/imglnks/euimg/b/b5/IMSLP480087-PMLP1969-Chopin_Etude_Casella.pdf
romantic piano
Harmony music • As a basic listening activity, learners could be asked to identify some different features of the music: e.g. scale /
o ternary key (major), solo instrument (piano), texture (melody and accompaniment / homophonic), number of beats per
Ensembles structure bar / measure (2 or 4) etc. (I)
and o different styles Now play the second section of the work asking learners to describe the different ways in which the music provides a
instruments of piano music contrast from the opening section. (I)

Structure Finally, play the whole work; ask learners to identify the structure of the piece as a whole (ternary). (I)

Texture • 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)
Genre
Comparing different styles: György Ligeti: Études

Subject • Learners should Johann Strauss: Roses from the South

Content develop knowledge
Play a recording of Johann Strauss’s waltz Rosen aus dem Süden (Roses from the South) starting at the Tempo di valse
and understanding
(page 7 of the score) – initially to the end of the first waltz on page 14.
Rudiments of:
o characteristics
Score: http://ks.imslp.net/files/imglnks/usimg/6/6f/IMSLP64335-PMLP22613-Strauss,_Johann_-
Melody and of a waltz
_Roses_in_the_South,_Op._388_(orch._score).pdf
rhythm o stylistic features
of romantic • As a basic listening activity, learners could be asked to identify some different features of the music: e.g. scale /
Harmony music key (major), instruments (orchestra), texture (melody and accompaniment / homophonic), number of beats per
o metre bar / measure (3 – depending on the recording chosen, this may also seem like one beat per bar, and could be
Ensembles o different styles
discussed) etc. Next, ask learners to describe the nature of the accompaniment, to discover the characteristic
and of waltz
instruments ‘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. Ask learners to compare the similarities and differences
Instrumental between this section and the first. (I)
effects • More challenging listening activities could use the score to help identify the key, cadences and modulations. (I)
Texture Comparing different styles: Ravel: Valses nobles et sentimentales.

Genre

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

4: Baroque music

Syllabus ref. Learning objectives Suggested teaching activities

Subject • Learners should Purcell: Ah, Belinda from Dido and Aeneas
Content develop knowledge
Play a recording of Ah, Belinda from Dido and Aeneas.
and understanding
Rudiments of:
Score: http://ks.imslp.net/files/imglnks/usimg/1/17/IMSLP36466-PMLP05472-Purcell-Z626vsNov.pdf (pages 5–7)
o characteristics
Melody and of an aria
rhythm • As a basic listening activity, learners could be asked to identify some different features of the music: e.g. scale /
o ground bass
o melisma and key (minor), type of voice (soprano), accompaniment (harpsichord and cello), number of beats per bar /
Ensembles vocal style measure (3) etc. (I)
and o stylistic features
Ah, Belinda is structured over a ground bass. Explain the concept of ground bass, and then play the recording again.
instruments / of baroque
voices music
• As a basic listening activity, ask learners to identify how many times they hear the ground bass. (I)
o different styles
Vocal effects of aria • 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
Structure ‘languish’) and the use of bass continuo. Teach learners about the characteristic features of opera. (I)

Genre
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 • Learners should Vivaldi: Autumn from The Four Seasons

Content develop knowledge
Play a recording of the final movement of Autumn from The Four Seasons.
and understanding
Rudiments of:
Score: http://ks.imslp.net/files/imglnks/usimg/4/42/IMSLP11099-AutumnScore_Vivaldi.pdf (pages 13–23)
o characteristics
Melody and of a concerto
rhythm • As a basic listening activity, learners could be asked to identify some different features of the music: e.g. scale /
o ritornello
structure key (major), solo instrument (violin), accompaniment (strings and harpsichord), number of beats per bar /
Harmony o instrumental measure (3) etc. This piece provides good examples of double-stopping and repetition. Explain to learners that
techniques

15
Scheme of Work

Syllabus ref. Learning objectives Suggested teaching activities

Ensembles o stylistic features this movement is an example of ritornello structure (similar to rondo, but the theme is often modified and can
and of baroque return in keys other than the tonic) and teach them to recognise the return of the ritornello theme. (I)
instruments music • As a more challenging listening activity, teach learners to recognise the modulation to the dominant key in the
o different styles
middle section of the movement. Ask learners to compare the similarities and differences between the different
Instrumental of concerto
effects episodes and / or the ritornello theme. (I)
Vivaldi’s music is based on a poem about the four seasons.
Structure
As a group activity, learners could explore how Vivaldi portrays the different aspects of the poem in his music. They
Composition could use the score to help them – Vivaldi indicates which aspect of the poem he is ‘setting’ at different sections in the
al devices movement. (I)
Genre Teach learners about the characteristic features of a baroque concerto.

Comparing different styles: Bruch: Violin Concerto

Subject • Learners should Handel: Messiah

Content develop knowledge
Play a recording of the recitative Behold, a virgin shall conceive. Teach your learners to recognise the characteristics of
and understanding
recitative.
Rudiments of:
o characteristics
Score: http://ks.imslp.net/files/imglnks/usimg/4/4d/IMSLP10705-Part_1a.pdf (page 43)
Melody and of an oratorio,
rhythm including
Next, play a recording of the aria O Thou that tellest good tidings to Zion – initially just the alto solo, stopping the
recitative, aria
recording before the chorus entry.
Harmony and chorus
• As a basic listening activity, learners could be asked to identify some different features of the music: e.g. scale /
o polyphonic
Ensembles texture key (major), solo voice (alto), accompaniment (strings and harpsichord / organ – this will depend on the
and o vocal ranges recording chosen), number of beats per bar / measure (depending on the recording, some learners may hear
instruments / o metre this as three fast beats, or two slower beats – this can lead into a useful discussion on compound time) etc.
voices o stylistic features Note that there is an extended example of melisma after rehearsal letter F. (I)
of baroque • More challenging listening activities could use the score to help identify the key, cadences and modulations. (I)
Vocal effects music
o different styles Now play the chorus section which follows the solo. Listening activities could focus on the texture, which is initially
Texture of aria polyphonic before becoming homophonic. Learners should be taught about the characteristic features of an oratorio. (I)

Genre 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

5: Twentieth-century

Syllabus ref. Learning objectives Suggested teaching activities

Subject • Learners should Debussy: Prélude à l’après-midi d’un faune

Content develop knowledge
Play a recording of Debussy’s Prélude à l’après-midi d’un faune – initially from the beginning to rehearsal figure 3 (on
and understanding
page 8).
Melody and of:
rhythm o characteristics
Score: http://ks.imslp.net/files/imglnks/usimg/4/40/IMSLP14736-Debussy_-_Pr%C3%A9lude_%C3%A0_l'apr%C3%A8s-
of impressionist
midi_d'un_faune_(orch._score).pdf
Ensembles music
and o texture
instruments • As a basic listening activity, learners could be asked to identify some different features of the music: e.g. the first
o different
instrumental solo instrument heard (flute) and the accompanying instruments (orchestra). They should be asked to try and
Instrumental sounds describe the character of the music. (I)
effects o stylistic features • As a more challenging listening activity, ask learners to compare the different textures found in the opening
of twentieth section each time the opening flute solo returns. The very beginning is a good example of monophonic texture;
Texture century music 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 • Learners should Prokofiev: Allegro from Symphony No. 1, Classical

Content develop knowledge
Play a recording of the first movement (Allegro) of Prokofiev’s Symphony No. 1. (The score is still copyright in most
and understanding
countries.)
Melody and of:
rhythm o characteristics
• As a basic listening activity, learners could be asked to identify some different features of the music: e.g. scale /
of neo-classical
music key (major), instruments (orchestra), number of beats per bar / measure (2) etc. (I)
o texture

18
 Scheme of Work

Syllabus ref. Learning objectives Suggested teaching activities

Ensembles o different • As a more challenging listening activity they could be asked to describe in detail the texture of the music in
and instrumental different passages. (I)
instruments sounds
o stylistic features Next, play a recording of a symphony by Haydn. Learners could compare the two performances listening for similarities
Texture of twentieth as well as differences. Use their observations as the basis of an explanation of the characteristic features of neo-
century music classical music. (I)
Genre
Comparing different styles: Beethoven: Symphony No. 5 in C minor

Subject • Learners should Gershwin: I got rhythm

Content develop knowledge
Play a recording of a vocal version of Gershwin’s I got rhythm from the musical Girl Crazy – initially the chorus only (I got
and understanding
rhythm). (The sheet music is still copyright in most countries, but is easily found in song collections.)
Melody and of:
rhythm o characteristics
• As a basic listening activity, ask learners to identify some different features of the music: e.g. scale / key (major),
of jazz and
Ensembles musicals voice and instruments (these will vary according to the chosen recording), texture (melody and
and o syncopation accompaniment), number of beats per bar / measure (2) etc. Next, focus on the syncopated rhythm – you could
instruments / o stylistic features ask some of the class to clap the strong beats of the basic pulse, while others clap the rhythm of the melody –
voices of twentieth they should soon notice the effect of syncopation. (I)
century music • Extension activity: play one or two more different performances of the same piece. Ask learners to compare
Texture
the different ways the song is performed. (I)
Genre 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 • Learners should Reich: Six Pianos

Content develop knowledge
Play a recording (or even better still, watch a video – there are plenty online) of Reich’s Six Pianos. (The score is
and understanding
copyright.)
Melody and of:
rhythm o characteristics
• As a basic listening activity, learners could be asked to identify some different features of the music: e.g. main
of minimalism
Ensembles o musical devices compositional device (ostinato), number of beats per bar / measure (2) etc. and to describe how the texture of
and such as ostinato the music is made up of different layers of sound. (I)
instruments o texture

19
Scheme of Work

Syllabus ref. Learning objectives Suggested teaching activities

Texture o stylistic features • As a more challenging listening activity, explore with learners how Reich slightly changes the patterns from time
of twentieth to time to create variety in the piece. (I)
century music
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

6: World music (general)

Syllabus ref. Learning objectives Suggested teaching activities

Subject • Learners should African music and Arabic music

Content develop knowledge
Learners should be taught to recognise the sound of the following specific instruments:
and understanding
Melody and • Rabāb
of:
rhythm o characteristic • Kora
features of • Xylophone
Ensembles African music • ‘Ūd.
and and Arab music,
instruments including Playing videos (easily found on websites such as YouTube) is a very good way for learners to become familiar with these
recognition of instruments.
Composition the named
al devices instruments They should also be familiar with the following general characteristics of music from this part of the world:
• Syncopation
Texture • 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 • Learners should Latin American music

Content develop knowledge

21
Scheme of Work

Syllabus ref. Learning objectives Suggested teaching activities

Melody and and understanding Latin America is a large continent with many musical styles, but learners do not need to be able to identify music from
rhythm of: specific Latin American countries. As a guide, exploring Tango (Argentina), music for panpipes (Andes) and Mariachi
o characteristic music (Mexico) will introduce many of the characteristic features of Latin American in general.
Ensembles features of Latin
and American Learners should be taught to recognise the sound of the following specific instruments:
instruments music, including • Bandoneon
recognition of • Pan-pipes
Texture the named
• Charango
instruments
• Guitar.
Playing videos (easily found on websites such as YouTube) is a very good way for learners to become familiar with these
instruments.

They should also be familiar with the following general characteristics of music from this part of the world:
• Syncopation
• Homophonic texture.
In addition to listening activities, learners could play class arrangements of some Latin American music, e.g. Tangos.
Some learners may be learning Latin American pieces individually; they could perform these, and the class could identify
the Latin American features in the music. (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 • Learners should Chinese music

Content develop knowledge
Learners should be taught to recognise the sound of the following specific instruments:
and understanding
Melody and • Ch’in
of:
rhythm o characteristic • Dizi
features of • Erh-hu.
Ensembles Chinese music,
and including Playing videos (easily found on websites such as YouTube) is a very good way for learners to become familiar with these
instruments recognition of instruments.
the named
Instrumental instruments They should also be familiar with the following general characteristics of music from this part of the world:
effects • Pentatonic scale

22
 Scheme of Work

Syllabus ref. Learning objectives Suggested teaching activities

• 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

Subject • Learners should Indian music

Content develop knowledge
Learners should be taught to recognise the sound of the following specific instruments:
and understanding
Melody and • Bansuri
of:
rhythm o characteristic • Sitar
features of • Sārangī
Ensembles Indian music, • Tablā.
and including
instruments recognition of Playing videos (easily found on websites such as YouTube) is a very good way for learners to become familiar with these
the named instruments.
Instrumental instruments
effects They should also be familiar with the following general characteristics of music from this part of the world:
• Texture (melody and drone)
Texture • 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 • Learners should Indonesian music

Content develop knowledge
Learners should be taught to recognise the sound of the main Indonesian ensemble:
and understanding
• Gamelan
of:

23
Scheme of Work

Syllabus ref. Learning objectives Suggested teaching activities

Ensembles o characteristic
Playing videos (easily found on websites such as YouTube) is a very good way for learners to become familiar with this
and features of
ensemble.
instruments Indonesian
music, including They should also be familiar with the following general characteristic of music from this part of the world:
Texture recognition of • Heterophonic texture
the named
instruments 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

Subject • Learners should Japanese music

Content develop knowledge
Learners should be taught to recognise the sound of the following specific instruments:
and understanding
Ensembles • Shakuhachi
of:
and o characteristic • Koto
instruments features of • Shō
Japanese
Texture music, including They should be familiar with Gagaku music and music for a small ensemble. Playing videos (easily found on websites
recognition of such as YouTube) is a very good way for learners to become familiar with these instruments.
the named
instruments They should also be familiar with the following general characteristic of music from this part of the world:
• Heterophonic texture
In addition to listening activities, learners could perform some Japanese melodies. (I)

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

7: World focus and Set Work

Syllabus ref. Suggested teaching activities

World Focus Arabic Music (for examination in 2020)

The Cambridge website contains very detailed notes for guidance on Arabic Music, which should be downloaded from the link below. These notes
explain the range of knowledge expected in this section. Effective teaching and learning strategies could include the use of videos (easily found on
YouTube) and learner projects / presentations about Arabic music. (I) (F)

Section B3 of the specimen and past papers indicates the style of questions that may be asked for the World Focus.

Teachers’ Guide to the World Focus: www.cambridgeinternational.org/programmes-and-qualifications/cambridge-igcse-music-0410/

Caribbean Music (for examination in 2021)

The Cambridge website contains very detailed notes for guidance on Caribbean Music, which should be downloaded from the link below. These
notes explain the range of knowledge expected in this section. Effective teaching and learning strategies could include the use of videos (easily
found on YouTube) and learner projects / presentations about Caribbean music. (I) (F)

Section B3 of the specimen and past papers indicates the style of questions that may be asked for the World Focus.

Teachers’ Guide to the World Focus: www.cambridgeinternational.org/programmes-and-qualifications/cambridge-igcse-music-0410/

Sub-Saharan African Music (for examination in 2022)

The Cambridge website contains very detailed notes for guidance on Sub-Saharan African music, which should be downloaded from the link
below. These notes explain the range of knowledge expected in this section. Effective teaching and learning strategies could include the use of
videos (easily found on YouTube) and learner projects / presentations about Sub-Saharan African music. (I) (F)

Section B3 of the specimen and past papers indicates the style of questions that may be asked for the World Focus.

Teachers’ Guide to the World Focus: www.cambridgeinternational.org/programmes-and-qualifications/cambridge-igcse-music-0410/

Set Work EITHER

Mozart: Piano Concerto No. 21, K. 467: Movement 1
For
examination Score: http://ks.imslp.net/files/imglnks/usimg/4/4a/IMSLP480420-PMLP5554-IMSLP25748-PMLP05554-
in 2020 Mozart_Pf_Concerto_21_K467_Allegro_Maestoso_with_bar_numbers.pdf

25
Scheme of Work

Syllabus ref. Suggested teaching activities

OR
Rossini: William Tell Overture
Score: http://ks.imslp.net/files/imglnks/usimg/6/6d/IMSLP33461-PMLP07234-Rossini_-_Guillaume_Tell_Overture_(full_score).pdf

The Cambridge website contains very detailed notes for guidance on the Set Works, which should be downloaded from the link below. 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.

Teachers’ Guide to Set Works: www.cambridgeinternational.org/programmes-and-qualifications/cambridge-igcse-music-0410/

For EITHER
examination Mozart: Piano Concerto No. 21, K. 467: Movements 2 and 3
in 2021
Score (Movement 2): http://ks.imslp.net/files/imglnks/usimg/5/52/IMSLP479790-PMLP5554-IMSLP25749-PMLP05554-
Mozart_Pf_Concerto_21_K467_Andante_Bar_numbers.pdf
Score (Movement 3): http://ks4.imslp.info/files/imglnks/usimg/8/8c/IMSLP480421-PMLP5554-IMSLP25750-PMLP05554-
Mozart_Pf_Concerto_21_K467_Allegro_Vivace_with_Bar_Numbers.pdf

OR
Mendelssohn: Calm Sea and Prosperous Voyage, Op. 27
Score: http://ks.imslp.net/files/imglnks/usimg/3/31/IMSLP402594-PMLP60602-
Felix_Mendelssohn,_Meeresstille_und_gl%C3%BCckliche_Fahrt_(1828-34).pdf

The Cambridge website contains very detailed notes for guidance on the Set Works, which should be downloaded from the link below. 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.

Teachers’ Guide to Set Works: www.cambridgeinternational.org/programmes-and-qualifications/cambridge-igcse-music-0410/

For EITHER
examination Bach: Brandenburg Concerto No. 4
in 2022
Score: http://ks.imslp.net/files/imglnks/usimg/6/66/IMSLP24494-PMLP05646-CCARH_Brandnburg4.pdf

26
 Scheme of Work

Syllabus ref. Suggested teaching activities

OR
Haydn: Symphony No. 100, Hob. I/100 Military: Movements 1 and 2
Score: http://ks4.imslp.info/files/imglnks/usimg/f/fc/IMSLP28931-PMLP07580-haydn-sym-100-ccarh.pdf

The Cambridge website contains very detailed notes for guidance on the Set Works, which should be downloaded from the link below. 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.

Teachers’ Guide to Set Works: www.cambridgeinternational.org/programmes-and-qualifications/cambridge-igcse-music-0410/

Past and specimen papers

Past/specimen papers and mark schemes are available to download at www.cambridgeinternational.org/support (F)

27
Scheme of Work

8: Performing (ongoing)

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

28
 Scheme of Work

9: Composing (ongoing)

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

29
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