Cambridge Assessment International Education: First Language English 0500/22 March 2019
Cambridge Assessment International Education: First Language English 0500/22 March 2019
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 March 2019 series for most
Cambridge IGCSE™, Cambridge International A and AS Level components and some Cambridge O Level
components.
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.
• 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.
Marks awarded are always whole marks (not half marks, or other fractions).
• 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.
Rules must be applied consistently e.g. in situations where candidates have not followed
instructions or in the application of generic level descriptors.
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).
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.
Note: All Examiners are instructed that alternative correct answers and unexpected approaches in
candidates’ scripts must be given marks that fairly reflect the relevant knowledge and skills
demonstrated. Nonetheless, the content must be clearly related to and derived from the passage.
Question 1
Base your article on what you have read in Passage A, but be careful
to use your own words.
Use the Marking Criteria for Question 1 (Table A, Reading and Table B,
Writing)
Notes on task
Candidates should select ideas from the passage (see below) and develop
them relevantly, supporting what they write with details from the passage
and judging the appropriate register for the genre which is a magazine
article. Look for a clear and balanced response which covers the three areas
of the question, is well sequenced, and is in the candidate’s own words.
Annotate A1 for references to the band, their style and the history of the
band
Annotate A2 for references to the concert, audience reaction and the
aftershow party
Annotate A3 for references to Stanley and how he fits in with the band.
A1: who the band are, their style and the history of the band
• Old / retired (det. formed group late in life, (now) The Nightblooming
Jazzmen) [dev. popular with women - charmers / handsome; (Little Big
Band members) lost interest / died]
• Moved to playing jazz (det. previous drummer objected to the move)
[dev. attempt to be more popular]
• Image (det. white belts, trousers pulled-up high, bow ties, serious
moustaches, cool names) [dev. retro, old- style fashion, clichéd (jazz)
image, out of date / quaint]
• Skilled musicians (det. mic only, no special effects or reliance on
technical equipment e.g. synthesisers, backing tracks, lighting or
screens) [dev. stripped back, honest, authentic, haunting sound]
• Clyde the leader / plays clarinet [dev. argued with the previous
drummer, can be stern]
• Chet plays trombone / picked citrus [dev. popular with female fans –
charmer / handsome]
• Wally plays tuba / tells war stories [dev. experience of war(s)]
• Hal talks more than the others (det. out of breath) [dev. puts lots of
energy into his performance / not fit / unwell, friendly, chatty]
• Stage name (det. Old Stanley, (changed name from) Nathanial) [dev.
humorous]
• Musical ability (det. Hal says he’s a good drummer, learned skills from
his father) [dev. famous father / father an accomplished (jazz) musician]
• Appearance (det. younger, wearing a false moustache, bleached
eyebrows) [dev. prepared to make an effort to fit in, other band
members appreciate it]
• Manners (det. talks with his mouth full, does not wait to be invited to
eat, speaks his mind e.g. great names) [dev. contrast with older
generation of band members; needs reminding / accepts guidance from
them]
• Current relationship with other band member(s) (det. Clyde smiles,
Clyde gives him a look, with Hal at the party) [dev. enjoys same music
they do / can never be part of it or really fit in]
• Future of Stanley in band negative (det. other band members are old
and may not want / be able to continue) [dev. difficult to get gigs as not
mainstream popular music]
• Future of Stanley in band positive (det. sticks moustache back on,
stays for party) [dev. enjoys atmosphere, following in father’s footsteps /
part of a revival of interest in jazz music]
Band 3: • There is some evidence of general understanding of the main ideas, although the
4–6 response may be thin or in places lack focus on the passage or the question.
• Some brief, straightforward reference to the passage is made.
• There may be some reliance on lifting from the text.
• One of the bullets may not be addressed.
• The voice might be inappropriate.
Band 2: • The response is either very general, with little reference to the passage, or a
1–3 reproduction of sections of the original.
• Content is either insubstantial or unselective.
• There is little realisation of the need to modify material from the passage.
Band 6 • The language of the response sounds convincing and consistently appropriate.
5 • Ideas are firmly expressed in a wide range of effective and/or interesting language.
• Structure and sequence are sound throughout.
Band 4 • Language is clear but comparatively plain and/or factual, expressing little opinion.
3 • Ideas are rarely extended, but explanations are adequate.
• Some sections are quite well sequenced but there may be flaws in structure.
Band 3 • There may be some awkwardness of expression and some inconsistency of style.
2 • Language is too limited to express shades of meaning.
• There is structural weakness and there may be some copying from the passage.
Question 2
Notes on task
This question is marked for the ability to select powerful or unusual words
and for an understanding of ways in which the language is effective. Expect
responses to provide words / phrases that carry connotations additional to
general meaning.
Mark holistically for the overall quality of the response, not for the number of
words chosen, bearing in mind that there should be a range of choices to
demonstrate an understanding of how language works for the higher bands,
and that this should include the ability to explain images. It is the quality of
the analysis that attracts marks. Do not take marks off for inaccurate
statements; simply ignore them.
The following notes are a guide to what good responses might say about the
selections. They can make any sensible comment, but only credit those that
are relevant to the correct meanings of the words in the context and that
have some validity. Alternative acceptable explanations should be credited.
Credit comments on effects created by non-vocabulary choices such as
grammar/syntax and punctuation devices. These must be additional to
comments on vocabulary.
The general effect is of the uplifting power of the music and the
connection between the surroundings and natural style of the
musicians
we’re off and running: (image) concert starts, begin to play, as if a (horse)
race, competing with each other enthusiastically
cook up a carousel of sound: (image) create music, reminiscent of
preparing food by heating it up and in doing so changing the flavour, also
falsifying/making seem better than it is; fairground ride, sound seems to be
all around, spinning, making the audience dizzy
a gang of senior citizens: (image) group, described as if criminals or
delinquents, humorous contrast with polite term for older people
tearing up the place: (image) playing energetically, as if rushing at full
speed/ destroying peace with their sound, causing an excited reaction
coaxing sad wah-wahs: (image) playing the trombone with skill and care,
played with feeling, as if persuading it to make music, sense of melancholy
noodles out golden lassos: (image) improvising, as if loops of notes,
ribbons of attractive sound, no direction or plan but skilfully hooking
audience, capturing them
burps wetly along: natural expulsion of air, as if cannot help but play along,
suggests less intelligent / unsophisticated but instinctive
stir up a flock of audience jazz-hands: (image) crowd lifting / waving
hands in time / appreciation as if group of birds taking flight suddenly,
deliberately disturbed
sun tilts through the trees: setting sun / gentle light; at an angle, as if
head on one side listening to music, relaxing
spot-lighting shafts of dust: (image) the light coming through the trees
appears to light the stage theatrically, the dust is rising not settling – the
music is causing a reaction
speck in the grand whirling scheme: each of them is just one human in
the overall pattern of life and the world, insignificant but contributing
something to the lives of those listening to their music, speck of dust
suggests they/their music will pass
like landing a plane, bouncing along « (rolling to a stop): (image) not an
expert landing /difficult to stop, but safely down, end of concert is not as
polished / not used to playing together /still some skill involved
Band 6: • Wide ranging discussion of judiciously selected language with some high quality
9–10 comments that add meaning and associations to words/phrases in both parts of the
question, and demonstrate the writer's reasons for using them.
• Tackles imagery with some precision and imagination.
• There is clear evidence that the candidate understands how language works.
Band 3: • The response provides a mixture of appropriate choices and words that
3–4 communicate less well.
• The response may correctly identify linguistic devices but not explain why they are
used.
• Explanations may be few, general, slight or only partially effective.
• They may repeat the language of the original or do not refer to specific words.
Question 3
This question tests reading assessment objectives R1, R2 and R5 and writing assessment objectives
W2, W3 and W4:
You must use continuous writing (not note form) and use your own
words as far as possible.
Band 2 • A basic response that demonstrates some understanding of the requirements of the
4–6 task.
• Demonstrates general understanding of some relevant ideas.
• There may be some indiscriminate selection of ideas.
Notes
• Overview demonstrates a candidate’s ability to summarise carefully selected key points in relation
to the focus of the question rather than to paraphrase the passage. Candidates should give a
focused response, drawing ideas from the passage provided; they should demonstrate clear
understanding of both explicit and implicit meanings.
Table B, Writing:
Band 3 • A relevant response that is expressed clearly, fluently and mostly with concision.
4–5 • The response is well organised.
• The response is in the candidate’s own words (where appropriate), using a range of
well-chosen vocabulary which clarifies meaning.
• Spelling, punctuation and grammar are almost always accurate.
Band 2 • A relevant response that is generally expressed clearly, with some evidence of
2–3 concision.
• There may be some lapses in organisation.
• The response is mainly expressed in the candidate’s own words (where
appropriate), but there may be reliance on the words of the passage.
• There may be errors in spelling, punctuation and grammar but they do not impede
communication.
Notes
Mark holistically for writing using the mark grid above, using a ‘best fit’ approach.