IGCSE 2020 2022 Syllabus PDF
IGCSE 2020 2022 Syllabus PDF
IGCSE 2020 2022 Syllabus PDF
Cambridge IGCSE®
Music 0410
For examination in June and November 2020, 2021 and 2022.
Version 1
Why choose Cambridge?
Cambridge Assessment International Education prepares school students for life, helping them develop an informed
curiosity and a lasting passion for learning. We are part of the University of Cambridge.
Our international qualifications are recognised by the world’s best universities and employers, giving students a
wide range of options in their education and career. As a not-for-profit organisation, we devote our resources to
delivering high-quality educational programmes that can unlock learners’ potential.
Our programmes and qualifications set the global standard for international education. They are created by subject
experts, rooted in academic rigour and reflect the latest educational research. They provide a strong platform for
learners to progress from one stage to the next, and are well supported by teaching and learning resources.
Our mission is to provide educational benefit through provision of international programmes and qualifications for
school education and to be the world leader in this field. Together with schools, we develop Cambridge learners
who are confident, responsible, reflective, innovative and engaged – equipped for success in the modern world.
Every year, nearly a million Cambridge students from 10 000 schools in 160 countries prepare for their future with
an international education from Cambridge International.
Quality management
Our systems for managing the provision of international qualifications and education programmes
for students aged 5 to 19 are certified as meeting the internationally recognised standard for
quality management, ISO 9001:2008. Learn more at www.cambridgeinternational.org/ISO9001
Cambridge Assessment International Education is part of the Cambridge Assessment Group. Cambridge Assessment is the brand name of
the University of Cambridge Local Examinations Syndicate (UCLES), which itself is a department of the University of Cambridge.
UCLES retains the copyright on all its publications. Registered centres are permitted to copy material from this booklet for their own
internal use. However, we cannot give permission to centres to photocopy any material that is acknowledged to a third party even for
internal use within a centre.
Contents
Key benefits
Cambridge IGCSE® syllabuses are created especially for international students. For over 25 years, we have worked
with schools and teachers worldwide to develop syllabuses that are suitable for different countries, different types
of schools and for learners with a wide range of abilities.
Cambridge IGCSE Music is accepted by universities and employers worldwide as providing proof of musical skills,
knowledge and understanding. This syllabus offers students the opportunity to develop their own practical musical
skills through performing and composing. They also develop their listening skills by studying music from the main
historical periods and styles of Western music as well as from selected non‑Western traditions. The emphasis of the
syllabus is as much on developing lifelong musical skills as on acquiring knowledge.
Learners studying Cambridge IGCSE Music are given the opportunity to:
•• listen to and learn about music from a wide range of historical periods and major world cultures
•• develop their skills in performing music, both individually and in a group with other musicians
•• develop their skills in composing music in a style of their own choice.
Our programmes balance a thorough knowledge and understanding of a subject and help to develop the skills
learners need for their next steps in education or employment.
Cambridge
learner
‘The strength of Cambridge IGCSE qualifications is internationally recognised and has provided
an international pathway for our students to continue their studies around the world.’
Gary Tan, Head of Schools and CEO, Raffles International Group of Schools, Indonesia
Cambridge IGCSEs are accepted and valued by leading universities and employers around the world as evidence of
academic achievement. Many universities require a combination of Cambridge International AS & A Levels and
Cambridge IGCSEs or equivalent to meet their entry requirements.
UK NARIC, the national agency in the UK for the recognition and comparison of international qualifications and
skills, has carried out an independent benchmarking study of Cambridge IGCSE and found it to be comparable to
the standard of GCSE in the UK. This means students can be confident that their Cambridge IGCSE qualifications
are accepted as equivalent to UK GCSEs by leading universities worldwide.
Supporting teachers
We provide a wide range of practical resources, detailed guidance, and innovative training and professional
development so that you can give your learners the best possible preparation for Cambridge IGCSE.
‘Cambridge IGCSE is one of the most sought-after and recognised qualifications in the world. It
is very popular in Egypt because it provides the perfect preparation for success at advanced level
programmes.’
Mrs Omnia Kassabgy, Managing Director of British School in Egypt BSE
2 Syllabus overview
Aims
The aims describe the purposes of a course based on this syllabus.
Content overview
When studying the Cambridge IGCSE Music syllabus, learners listen to, perform and compose music, encouraging
aesthetic and emotional development, self-discipline and, importantly, creativity. As a result, learners enhance
their appreciation and enjoyment of music, an achievement that forms an ideal foundation for future study and
enhances lifelong musical enjoyment.
Learners study music of all styles; each style is placed in its historical and cultural context, and learners are
encouraged to be perceptive, sensitive and critical when listening. Although the majority of the syllabus examines
Western European music, the music of other cultures is always represented.
Assessment overview
All candidates take three components.
and:
Component 3 Coursework
Composing 30%
100 marks scaled to 50 marks
Two contrasting compositions
Internally marked/externally moderated
Assessment objectives
The assessment objectives (AOs) are:
AO1 Listening
AO2 Performing
AO3 Composing
3 Subject content
Listening
Candidates should be taught to recognise and describe (where appropriate) the musical features on the following
list, which provides a clear indication of the range of knowledge expected in this paper. Extracts may come from
any genre, but candidates will only be expected to identify the genres shown. The Set Works and the World Focus
may have specific features which are not included in this general list, but these will be highlighted in the Teachers’
Guide to Set Works and the World Focus.
Rudiments
Standard staff notation including dynamic, tempo and expression markings, simple ornaments and articulation
signs, treble, bass and alto clefs, key signatures up to 4 sharps and 4 flats in major and minor keys, time signatures,
major, minor and perfect intervals.
Harmony
Primary chords: I, IV, and V(7); secondary chords: II and VI. Perfect, imperfect and interrupted cadences. Modulations
to related keys (sub-dominant, dominant, relative minor, relative major).
Structure
Binary, ternary, rondo, theme and variations, ground bass.
Compositional devices
Repetition, imitation, sequence, canon, ostinato, drone, Alberti bass, pedal (tonic and dominant), contrary motion.
Texture
Melody and accompaniment, homophonic, polyphonic, monophonic, heterophonic, parallel motion.
Style
Baroque, Classical, Romantic, Twentieth Century (including impressionism, neo-classicism, jazz, minimalism).
Genre
Opera, oratorio (including recitative, aria and chorus), musical, symphony, concerto, string quartet, sonata, march,
waltz, minuet and trio.
A Music Coursework Handbook is available and provides the opportunity for teachers/Examiners to practise
assessing the Performing and Composing examinations before they undertake their first live tests.
Component 1 – Listening
Written paper, c.1 hour 15 minutes, 70 marks
This component is based on CD recordings supplied by Cambridge International. It is assumed that centres will have
a CD player of reasonable quality, capable of reproducing the bass clearly.
The extracts or pieces played will be from a wide range of styles and traditions. The questions test understanding
and perception of the music. Candidates are expected to follow any complete or skeleton scores or diagrams
provided. All questions in Sections A, B and C are compulsory and will either require short answers or will be in a
multiple-choice format.
Extracts in Sections A, B and C will be played four times; extracts in Section D will be played twice.
In Sections A, B and C, candidates may be asked questions relating to rudiments, melody and rhythm, harmony
(including recognition of chords, keys and cadences), ensembles, instruments and instrumental effects, structure,
compositional devices, texture, style or genre, as appropriate to the music.
In addition to questions on the areas listed above, candidates will also be required to identify the possible
continent/country or origin.
The third piece (10 marks) will be taken from the World Focus prescribed each year from the non-Western music
traditions.
In the examination, candidates will be tested on a range of knowledge and understanding of the prescribed World
Focus. Although the precise nature of questions will depend on the individual characteristics of the country or area,
candidates should be prepared to answer questions under the following main headings:
•• instruments and effects
•• melody and rhythm
•• texture
•• structure
•• general background information about the context of each country or area.
Candidates will not be assessed on spelling, providing the meaning of their answers is clear.
Further information on the World Focus topic is available in the Teachers’ Guide to Set Works and the World
Focus. It is essential that centres download this document from www.cambridgeinternational.org, as it
contains details of the vocabulary, specific instruments and other contextual information that candidates
may be asked about in the examination.
For their chosen work, candidates will hear two extracts (played twice). A skeleton score of the extracts will be
provided in the question paper. Candidates will be expected to answer questions on any aspect of the music in the
extract (whether or not it is shown in the skeleton score); there may also be questions on the music which comes
before or after the extract itself.
General observations
It is most important that candidates are able to hear their Set Work as often as possible, so that they become
thoroughly familiar with the music primarily through listening. Recordings should therefore always be available to
them in school. Wherever possible, it is also desirable for candidates to have their own copy of a recording, so that
they can listen at home as well. With this in mind, every effort has been made to ensure that all the Set Works are
available on good quality but inexpensive CD recordings (e.g. those issued on the Naxos label). The importance of
experiencing the sound of the music at first hand cannot be stressed too much.
In the examination, candidates will be tested on a range of knowledge and understanding of their chosen work.
Although the precise nature of questions will depend upon the individual characteristics of the work concerned,
candidates should be prepared to answer questions under the following main headings:
•• structure and terminology
•• themes and their transformations
•• key centres and modulations
•• identification of chords
•• instruments
•• transposition
•• score markings, performance directions, instrumental effects
•• general background information about the context and genre of each work.
Further information on the Set Works is available in the Teachers’ Guide to Set Works and the World Focus.
It is essential that centres download this document from www.cambridgeinternational.org, as it contains
information that candidates may be asked about in the examination.
Component 2 – Performing
Internally marked/externally moderated coursework, 50 marks
Component 2 consists of prepared performances of the candidate’s own choice, all of which must be recorded.
Candidates must:
(i) sing or play individually – either one piece or two short contrasting pieces (which should be on the same
instrument)
and
(ii) sing or play in an ensemble – either one piece or two short contrasting pieces (which should be on the same
instrument – but this does not need to be the same instrument as that offered for individual performing).
The music performed should be appropriate, in its technical and musical demands, to the candidate’s stage of
development at the time of the examination. Positive credit is given for the following:
(a) the range of technical and musical skills demonstrated
(b) accuracy of playing the notes and rhythm (in notated music) OR quality of improvisation (in music that is not
notated)
(c) choice and control of tempo (in an individual performance) OR ensemble coordination (in an ensemble
performance)
(d) sensitivity to phrasing and expression
(e) technical control of the instrument.
An individual performance may be either unaccompanied or accompanied (but the accompaniment should be
played if the composer wrote one and a suitable accompanist is available). Any accompaniment may be live or
through a backing track. Singers who choose to accompany themselves (e.g. on the guitar) should be assessed for
their singing only.
An ensemble should consist of two or more live performers, and the candidate’s part may not be consistently
doubled by any other performer. Pianists may offer accompaniment; duos are allowed provided the candidate’s
part demonstrates genuine ensemble skills and could not also be counted as a solo. Candidates should ensure that
they do not offer as an ensemble any piece that could be presented as their individual performance, e.g. a flautist
playing with piano accompaniment would count as an individual performance for the flautist. The other musicians
in an ensemble do not also have to be candidates for the examination. Backing tracks and/or multi-tracking must
not be used in any part of the ensemble performance.
If centres are in any doubt about the suitability of the proposed repertoire, contact Cambridge International
through either [email protected] or the discussion forum on the School Support Hub.
Marking criteria
The total for this component is 50 marks. Each performance will be marked out of 25, a maximum of 5 marks being
awarded for each of the following five criteria.
When electronic keyboards and other electronic equipment are used, the criteria should be taken to include the
musical use made of the available facilities and the skills required. It is the candidate’s input that must always
be the prime concern. Multi-tracking is not permitted for the submitted performances. Details of all such
equipment, together with the facilities used, must be given on the Performing Working Mark Sheet. These
forms, and the instructions for completing them, may be downloaded from
www.cambridgeinternational.org/samples
(b) Accuracy of playing the notes and rhythm (in notated music)
Do candidates know the music well enough to play fluently, without undue hesitancy? Even if there are
technical shortcomings, is there evidence that candidates understand how the music is meant to go?
OR
Quality of improvisation (non-notated music)
Are candidates able to improvise fluently on the basis of the given materials? Is there a sense of direction and
purpose in the improvisation, or does it repeat itself too much, producing an effect of aimless meandering?
Descriptor Marks
A wide range of well-developed skills, allowing the candidate to perform music which makes 5
substantial demands.
4
A range of moderately developed skills, allowing the candidate to perform music of moderate 3
difficulty.
2
A narrow range of modest skills, allowing the candidate to perform music which makes very simple 1
demands.
An inadequate range of very basic skills, allowing the candidate to perform at an elementary level. 0
Descriptor Marks
Entirely accurate and consistently maintained throughout OR a high quality of fluent improvising. 5
4*
Moderately accurate, but with several passages spoilt by hesitation OR a moderate quality of fairly 3
fluent improvising.
2†
Very inaccurate and hesitant throughout the performance OR a poor quality of aimless improvising. 1
Hardly any accurate notes or rhythms OR hardly any evidence of an ability to improvise. 0
* Award 4 if the performance contains too many errors for full marks (full marks may be awarded where there are a
few small slips), but is more accurate than is suggested by 3.
† Award 2 where there are some accurate passages, but where the overall level of accuracy is poor and/or the
performance is hesitant.
(c) Choice and control of tempo (in individual performing) OR ensemble coordination (in ensemble
performing)
If the performance submitted by the candidate as an ensemble is in fact a second solo (see
page 12), award a mark of 0.
Descriptor Marks
An entirely appropriate choice of tempo, consistently maintained throughout the performance OR 5
excellent coordination with the backing track (individual performing only) OR excellent ensemble
coordination.
4*
Choice of tempo not wholly appropriate and with some fluctuations OR moderate coordination with 3
the backing track (individual performing only) OR moderate ensemble coordination.
2†
An inappropriate choice of tempo, with many fluctuations throughout the performance OR poor 1
coordination with the backing track (individual performing only) OR poor ensemble coordination.
No sense of a consistent tempo OR no sense of coordination with the backing track (individual 0
performing only) OR no sense of ensemble.
* Award 4 in individual performing if the tempo is correct but there are some small fluctuations or if the tempo is
not quite correct but is maintained consistently. In ensemble performing award 4 where the rhythmic coordination
is good, and the phrasing, articulation and balance are mostly well matched but perhaps with a small area of
weakness.
† Award 2 in individual performing if the tempo is more seriously inappropriate and/or there are more frequent
fluctuations than 3 suggests. In ensemble performing award 2 where there are more serious problems with
rhythmic coordination, and the other areas are not well matched.
Descriptor Marks
Suitably phrased and fully effective in expression. 5
4*
Moderately well phrased and fairly effective in expression. 3
2†
Little account taken of phrasing and expression. 1
No phrasing or expression evident. 0
* Award 4 if the music is effectively phrased but with less attention to dynamics and articulation than would be
needed to gain full marks.
† Award 2 where the phrasing is reasonably effective but expression and/or articulation have been ignored.
Descriptor Marks
Very good technical control. 5
4*
Moderately good technical control. 3
2†
Generally weak technical control. 1
Not in control of the instrument. 0
* Award 4 if, e.g. the tone quality appropriate to the instrument is not sufficiently developed to gain full marks (but
other areas of technique are strong) or there is a minor area of technical weakness.
† Award 2 if, e.g. tone quality is poorer and/or there are problems with some of the other technical factors
appropriate to the instrument.
Add together the marks under each heading to give the TOTAL MARK out of 25 for Individual Performing.
Add together the marks under each heading to give the TOTAL MARK out of 25 for Ensemble Performing.
Add the two total marks together to give the GRAND TOTAL MARK out of 50 for PERFORMING.
The Grand Total Mark must be checked against the Overall Descriptors and mark bands below. If the marks
achieved by a consideration of the Individual Marking Criteria are correct, they will be compatible with the Overall
Descriptors. If they are not, the individual marks should be revisited.
Component 3 – Composing
Internally marked/externally moderated coursework, 50 marks
Candidates submit two compositions, written for different instruments and/or voices, which must be recorded.
Composition 1 must be written in a Western, tonal style and must demonstrate familiarity with the basic principles
of traditional harmonic language; this composition must be fully notated using staff notation and the score must
be submitted with the recording.
Composition 2 may be in any style of the candidate’s choice and may be notated in whatever form of notation is
appropriate to the music. If staff notation is not used, the intentions of the notation must be clearly explained in an
accompanying commentary. The score and commentary (if applicable) must be submitted with the recording.
Notation may be either handwritten or computer generated, but all scores must be accurately edited. If notations
other than staff notation are submitted, they must be accurately designed to show the duration of the sounds
represented by whatever symbols are used (e.g. guitar chord symbols on their own do not show duration).
Alternative notation should not be used for any piece which is capable of being notated in staff notation.
Teachers must certify that the compositions are the individual work of the candidate who claims authorship.
Marking criteria
Candidates must submit two contrasting compositions. These are assessed by centres and submitted to Cambridge
International for moderation.
In assessing compositions, centres should concentrate on candidates’ responses to specific key areas of the
composing process, summarised in the following assessment criteria. Each composition is assessed out of a
maximum of 50 marks, a maximum of 10 marks being awarded for each criterion.
(a) Ideas
This criterion is concerned with basic elements of composing: the quality of melodic writing and the
effectiveness of rhythm. In basic terms this area deals with the ‘raw materials’ of a composition rather than the
use made of them by the candidate.
Handling of ideas (referred to in the following descriptors) concerns the way in which candidates use the
ideas within a composition. Is there sufficient variety and contrast between ideas? Is the quality of invention
consistent throughout the composition?
(b) Structure
This criterion concerns candidates’ abilities to use the ideas they have produced to create a coherent and
organised composition. Credit should be given for clear evidence that important features of structure have
been understood in terms of sectional contrasts, links between sections and the conception of a broad overview
of each composition. In this area, all aspects of structure should be considered: the small-scale aspects
(relationships between phrase lengths, for example) and the broader view (the overall structures and coherence
of the composition).
(a) Ideas
Descriptor Marks
Musical and imaginative ideas that suggest a keen sense of aural awareness and are handled in a 9–10
convincing and intelligent manner.
Some imaginative musical ideas, showing a secure sense of musical inventiveness, but perhaps 7–8
lacking in range. Handling of materials may display some weakness and/or inconsistency.
Reasonable musical ideas displaying some aspects of inventiveness, but not always securely or 4–6
consistently handled.
Only a small range of simple ideas displayed, showing awkwardness in the handling of material. 1–3
No creditable musical ideas. 0
(b) Structure
Descriptor Marks
Clear and appropriate structure, with inventive use of elements creating contrast and continuity in 9–10
the composition as a whole.
Effective in overall structure, with good attention to aspects of contrast and continuity, although 7–8
showing some imbalance between sections.
Reasonable attention to structure, although perhaps over-reliant on repetition and limited in its 4–6
sense of the overall concept.
Structure evident in some clear sections, but with obvious imbalances, and a limited use of contrast 1–3
and continuity.
No creditable structure. 0
Descriptor Marks
Idiomatic use of resources throughout, displaying strong aural awareness and revealing a broad range 9–10
of inventive and varied textures.
Effective use of resources overall, and displaying a good range of textures, although lacking elements 7–8
of imagination and/or invention in places.
Reasonable use of resources; a fair range of workable textures, with some consideration of detail, but 4–6
with notable impracticalities in balance or occasional passages of awkward writing.
Some evidence of awkwardness in the use of resources, and keeping to very simple textures and 1–3
narrow registers, with restricted use of textural variety.
No creditable use of medium. 0
Descriptor Marks
Fully appropriate harmonisation; inventive and confident use of techniques to extend, develop and 9–10
connect ideas.
Appropriate harmonisation; effective use of techniques to develop and connect ideas, showing good 7–8
aural familiarity across a range of relevant techniques.
Moderately successful harmonisation; reasonable and generally secure use of techniques to extend 4–6
and/or develop ideas, although perhaps using stock devices across a limited range.
Less successful harmonisation; some attempt to use techniques to develop or extend ideas, but 1–3
revealing only a limited aural imagination across a relatively narrow range of techniques.
No creditable compositional technique. 0
Descriptor Marks
Clear, articulate and well-presented score/commentary with few mistakes or omissions, showing 9–10
consistent attention to musical detail.
Coherent and clear score/commentary, but missing some detail, and perhaps with occasional 7–8
ambiguities, inaccuracies or omissions.
Mostly accurate score/commentary, but lacking attention to detail (e.g. omitted dynamics) and to 4–6
clear presentation (poor clarity, clumsy arrangement of details).
Mostly accurate score/commentary, but with frequent ambiguities in rhythm, pitch and layout. Poor 1–3
attention paid to performance instructions.
No creditable score presentation/notation. 0
Add the marks under each heading to give the TOTAL MARK out of 50 for each individual composition.
Add the marks for each individual composition to give the GRAND TOTAL MARK out of 100 for both
compositions.
The Total Mark for each composition and the Grand Total Mark out of 100 must be checked against the Overall
Descriptors and mark bands below. If the marks achieved by a consideration of the Individual Marking Criteria
are correct, they will be compatible with the Overall Descriptors. If they are not, the individual marks should be
revisited.
For information, dates and methods of submission of the coursework marks and sample, please refer to the
Cambridge Handbook and sample database at www.cambridgeinternational.org/samples
Scores for both performances and compositions should be included. Please note that material for Performing
and for Composing must be submitted in separate packages.
If it is impractical to record a composition using the forces for which it is intended, the recording may be made
using different forces that are more readily available (e.g. a piano reduction of a piece for string quartet). It is
essential that candidates hear their compositions in performance, even if it cannot be done with the exact forces
intended. As a general rule, recordings of live performances (even if they are not completely note-perfect) give
moderators a much better impression of the music than performances generated from music technology
(e.g. music notation programs or sequencers). However, if it is impossible to record a live performance, sequenced
versions may be submitted. In all cases, recordings on CD must be saved as audio files and CDs must be finalised
so that they can be played on a standard CD player. The CDs must be checked on a standard CD player before
despatch to Cambridge International.
For the purpose of moderation, centres are asked to organise the presentation of recordings as follows:
•• Place all performances of each candidate consecutively on the CD submitted. Most centres prefer to include
the work of many candidates on one CD rather than use a separate CD for each candidate. The work of each
candidate must be preceded by a spoken introduction giving the candidate’s name, number and the titles of the
pieces. Each CD must be labelled with the centre number and name, together with the names and numbers of
the candidates in the order of the recordings.
•• Record the compositions on a separate CD from the performances. Place both compositions of each
candidate consecutively on the CD and ensure that their order corresponds to the numbering (i.e. ‘Composition 1’
and ‘Composition 2’) on the Working Mark Sheet. Each composition must be preceded by a spoken introduction
giving the title of the piece and the details of the candidate. Each CD must be labelled with the centre number
and name, together with the names and numbers of the candidates in the order of the recordings.
Internal moderation
Centres should request permission from Cambridge International if they wish more than one teacher to assess
the Performing or Composing coursework. This permission is only granted on the understanding that internal
moderation must be carried out at the centre. This is in order to ensure that marks submitted by the centre are
consistent for all candidates, irrespective of which teacher assessed the examination.
Resubmission of coursework
Information about resubmission of coursework can be found in the Cambridge Handbook.
This section is an overview of other information you need to know about this syllabus. It will help to share the
administrative information with your exams officer so they know when you will need their support. Find more
information about our administrative processes at www.cambridgeinternational.org/examsofficers
Cambridge IGCSE, Cambridge IGCSE (9–1) and Cambridge O Level syllabuses are at the same level.
Making entries
Exams officers are responsible for submitting entries to Cambridge International. We encourage them to work
closely with you to make sure they enter the right number of candidates for the right combination of syllabus
components. Entry option codes and instructions for submitting entries are in the Cambridge Guide to Making
Entries. Your exams officer has a copy of this guide.
Exam administration
To keep our exams secure, we produce question papers for different areas of the world, known as ‘administrative
zones’. We allocate all Cambridge schools to one administrative zone determined by their location. Each zone has
a specific timetable. Some of our syllabuses offer candidates different assessment options. An entry option code
is used to identify the components the candidate will take relevant to the administrative zone and the available
assessment options.
Retakes
Candidates can retake the whole qualification as many times as they want to. This is a linear qualification so
candidates cannot re-sit individual components.
The standard assessment arrangements may present unnecessary barriers for candidates with disabilities or learning
difficulties. We can put arrangements in place for these candidates to enable them to access the assessments and
receive recognition of their attainment. We do not agree access arrangements if they give candidates an unfair
advantage over others or if they compromise the standards being assessed.
Candidates who cannot access the assessment of any component may be able to receive an award based on the
parts of the assessment they have completed.
Language
This syllabus and the related assessment materials are available in English only.
A* is the highest and G is the lowest. ‘Ungraded’ means that the candidate’s performance did not meet the
standard required for grade G. ‘Ungraded’ is reported on the statement of results but not on the certificate. In
specific circumstances your candidates may see one of the following letters on their statement of results:
•• Q (result pending)
•• X (no result)
•• Y (to be issued)
These letters do not appear on the certificate.
Grade descriptions
Grade descriptions are provided to give an indication of the standards of achievement candidates awarded
particular grades are likely to show. Weakness in one aspect of the examination may be balanced by a better
performance in some other aspect.
Grade descriptions for Cambridge IGCSE Music will be published after the first assessment of the IGCSE in 2020.
Find more information at www.cambridgeinternational.org/igcse
From 2020 this syllabus will no longer be regulated by the qualifications and examinations regulators in England,
Wales and Northern Ireland.
The syllabus and specimen papers have been updated to reflect the change in regulated status.
The syllabus and specimen papers have been updated with the new name for Cambridge Assessment International
Education.
Changes to syllabus content •• The set works for 2020, 2021 and 2022 have been updated in section 3
of the syllabus
Changes to assessment •• The instructions on the front cover of the question paper have been
updated to improve clarity. The requirements have not changed.
You are strongly advised to read the whole syllabus before planning your teaching programme.
Any textbooks endorsed to support the syllabus for examination from 2015 are still suitable for use
with this syllabus.