Art Appreciation Handout

ART APPRECIATION
Preface
There are many ways to appreciate the different art fields and we all have varying experiences of it. Before, art was
deemed as something that is impractical and unpromising. However, little do we realize that Art and all its fields offer a
lot more: creative problem solving, critical thinking, a deeper sense of human understanding, development of our intrinsic
human sensibilities which make us more holistic members of this society.
So what will you expect from this module? Divided into two major parts, the first two chapters will focus on Visual Arts,
while the last two is about Music Appreciation.
In Chapter 1, you will learn to connect art with yourself first, however and whatever state you may be. The goal of the
first chapter is to make art relevant to you by starting with our humanity. What is art to me, who is an artist, how do I
learn art? These are the questions we will try to answer.
Chapter 2 is devoted to the rediscovery and reconnection of our present lives with what has transpired in Philippine Art.
You will be introduced to some important markers of our artistic achievements and how these have helped from the
foundations of our national identity. Hopefully you will also gain and develop your love for our beautiful country.
In Chapter 3, you will learn the basic elements of music along with the purposes and value of music in society. Some of
you might be more familiar with the following lessons than others, but majority of the concepts you are going to learn will
be needed and utilized for Chapter 4. The title of Chapter 3, “Prelude,” is actually a musical term which means an
introductory piece to something of greater importance.
Chapter 4, “Expositions: A Journey through Musical Time,” is a survey of the historical eras of music. You will be
surveying and sampling a few representatives from each era, as early as the Middle Ages up to modern times. A section
on Philippine Music is also included. Each lesson within this chapter concisely presents salient characteristics that
distinguish one musical era from the next. You will be listening a lot (yeah, sound trips!) in these two chapters. Since we
Filipinos are such a musically gifted nation, let us now begin our quest to become a more “musically literate” people; able
to use musically correct terms in describing, analyzing, appraising, and critiquing the music that we hear from day to day.
In a time when the arts are not held in such high esteem as the sciences, we hope to breathe fresh life into these fields.
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Chapter 1 THAT IS ART, SO WHAT?
INTRODUCTION:
What is Art for: Functions, Relevance, and Significance
“I’m not an artist, I don’t know how to appreciate art!”
Some of you may have this dilemma in mind. However, for others, they may have a glimpse of what art means to them
because they may be skillful at some techniques; but, have you ever had this lingering curiosity about how and where does
one begin to study art? In the age of Instagram and Facebook, it is very easy to come across a work of art which is made,
remade, or reused to fit a certain purpose or value. You must have pressed that “like” or “love” button as you deem a
graphic post so relatable. YouTube offers a lots of tutorials and techniques for painting, calligraphy, watercolor, etc.; lots
of young artists have been exposed to a wide range of art techniques because of them. Art and information is now within
our reach. There are so many sources available to learn from. The downside of this quick information is that it is very
scattered. We do not know which to prioritize and are unsure if we are getting the right information. Art Appreciation on
the other hand is a discipline offered in an academic setting but probably less likely to be consumed here in this country.
However, it has one strength: its premise being in the academe. To direct our often ambivalent feelings toward art, let us
learn and discuss it from which is a good starting point: you. The beginning of this chapter is about understanding the
functions of art in relation to your context, your needs, and your longings as a person in the context of the millennial age.
The rest progresses from this starting point.
ACTIVITY 1
Watch a local art and culture center. It may be a pottery-making place, a local art gallery, a cultural event, a museum, or a
local arts and crafts store. Observe what is happening. Observe the processes that the artists or craftsmen are involved in.
If not applicable, simply reflect on your experiences of the space. Take note of the guide questions below as you conduct
your visit.
ANALYSIS:
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Answer the following questions:
a. What did you see? Enumerate 5-10 things that were most notable in the place. Describe them briefly.
b. Describe your visit. How did it awaken your senses? Did you feel relaxed, excited, curious, or intrigued?
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ACTIVITY 2:
Observe Francisco Goya’s “The Third of May 1808.” Compare and contrast the work with Juan Luna’s “Spoliarium”
(research online) Do not mind the historical context of the work yet. Just try to observe each one. Try to think of all the
factors involved in creating it and list down the parallelisms you can find.
The Third of May 1808
Francisco Goya
Spoliarium
Juan Luna
ANALYSIS:
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Answer these questions in a discussion and write down your answers as a group:
a. What kind of event is being portrayed in the paintings? What emotions are the artists trying to evoke? For
what reason?
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b. As mere, frail human beings, why do you think we have such artworks to process the emotion?
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c. How did the artists elicit the emotions of the narratives through the subject matter?
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ABSTRACTION:
The exercises offered us some of the ways that artists addressed human issues. Read the following elaborations on each of
the functions to further aid your understanding:
1. Beauty
Why do you think some people hang artworks on their wall? What is the most common answer? The connotation
of beauty is a debatable topic, but let us talk about prettiness and the aesthetic value of art. One of the innate
qualities that “pretty art” can give is that it makes our dull, lifeless walls come to life. The contrast of having
something “alive” and dynamic to look at on something ordinary and common, let us say a pristine white wall,
evokes in us a common denominator when we are talking about appreciating forms of art. Beauty makes sense to
most of us.
2. Happiness and Hope
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There is something about art that mirrors the soul of those willing to confront it. In a societal tone, artworks tend
to echo the hopes and anxieties of an age. There is a wide range of properties of art why it gives a sense of joy and
hope to its audience. These are examples:
a. When paintings are placed in a daunting environment such as hospitals;
b. The experience and process of creating art itself;
c. The bliss of looking at a piece of imagery evoking a happy memory: e.g. the paintings of a do;
d. Direct words from typography and graphic messages that are so relatable as if the author has read your mind
and feelings; and
e. Identifying oneself with the properties of an artwork: a homage to something; works addressing diaspora,
displacement, and other social issues.
3. Identity and Understanding the Self

Today’s generation, being the “me” generation, is also sometimes tagged as the “anxious generation”. A lot of
social issues evidently reflect this struggle for identity: gender issues, disconnectedness brought on by social
media, regionalism, and even mental health issues. How do you think art can be a tool to address such challenges?
Do you agree that we need something outside of us and tangible enough to define what we are feeling and
struggling against? Sometimes we see ourselves in an artwork. Sometimes we see ourselves in the process. Art
can serve as a powerful tool to help us communicate and relay our confusion. Even psychological interventions
use art as therapy to aid in processing some sensitive experiences.
4. Grief and Healing
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Many of the most poignant and humanistic products of art were made after the World War II. Twentieth-century
art mostly expressed human suffering and darkness in its themes. Artists such as Rachel Whiteread talked about
this haunting remembrance of holocaust victims in her work “Ghost Library”. Here, she used an experiential type
of artistic expression, exploring the themes of place and memory in an architectural setting.
Through the years, artists have interpreted these shared human experiences in different ways, which also help us
process our grief. Some may use art as a tool to express pain and process it in therapy. Nonetheless, it plays an
important role in making grieving somehow dignified.
5. Remembering and Mark-making

How do you think has art helped us remember? How have artists shaped our landscape? The monument of Rizal
in Luneta Part is one example of a type of art that helps us remember. Without the tangible characteristic of art,
we will not be able to sustain our nationalistic values well enough. We have pictures, films, and paintings that
depict heroism and nationalism. Try to look up these artists: “Angel of the North” by British sculptor Antony
Gormley and Anish Kapoor’s “Cloud Gate” in Chacago. Gormley’s work has been considered as the largest
sculpture in the world and one of the most popular. The humongous figure of a person with airplane-like wings is
situated in Gateshead, England, and was commissioned to become an identifying landmark of the region. On the
other hand, Kapoor had this humongous, bean-shaped metallic sculpture placed at that certainly builds a sense of
mark and identity to that place where the traffic of pedestrians is usually heavy.
6. Raising Awareness
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Have you seen large sculptural effigies (those paper-mache-made-to-be-burned protest art) during rallies in
Manila? Some art can be categorized as activist art. But not all are as loud and garish. Some are subtle paintings
which might use satire. In the Philippines, many socially-concerned artists have emerged in the age of modernism
portraying politicians and the governments system in their most hateful actions. A subtler type of inducing
awareness can be observed in architecture such as the stained glass windows of Gothic churches and even their
illuminated manuscripts. Such is also the case of our local churches with large domes at the altar part and huge
stained glass windows.
7. Culture and Togetherness

Lastly, forms of art are often localized so that they bring identity also to certain regions. This is very evident here
in the Philippines, which is geographically separated by thousands of islands – we are very regionalized. In a way,
there is a sense of redemption for the past weakness of Philippines when the Spaniards strategized the divide and
conquer method. Do you remember the national costume of Miss Universe 2019? Here, we see how reigning
queen Catriona Gray wore the “whole Philippines” symbolically uniting us through her Luzon-Visayas-Mindanao
inspired national costume. Indeed, it is an attempt to represent our unity and national identity as Filipinos. What
do you think about the costume?
APPLICATION:
As an individual who has gone through a specific set of experiences, what kind of art would you make? What do you want
to share to others? What do you want to awaken in them? Is there something you would like to remember? Or would you
like your audience to just take pleasure in the aesthetics of what you have created? Remember, there is neither right nor
wrong answer for artistic interpretation (can be made or captured e.g. photo). The goal is to express something of
relevance to you as a person (even to your artistic taste) in a visual form.
Artwork: Paste here your simple drawing, an artwork of any medium, or a photograph that best represents your answer
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to the guide questions above
ASSESSMENT:
Students will be taking part in criticizing the functions through group discussion. Upon analyzing the functions of art, let
us now try to see how effective these are in meeting the objectives of the lesson.
1. Were the functions presented effective? In what other ways can they relate to art?
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2. Explore other artworks that also reflect the functions discussed.

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3. If you were to add to the functions, what would they be? Create new knowledge and share it in a discussion.
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LESSON 2: HOW DO I STUDY ART?: MAKING ART
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Objectives:
 Learn how art communicates color, symbolic quality of shape, line movement, quality of texture, the
drama of lighting, and many others
 Be able to read design principles behind some effective and thought-provoking art forms and graphic
designs
 Explore materials and techniques through firsthand experience
INTRODUCTION:
Have you ever watched something being made: a time-lapsed of a building construction, a short video on how to bake
muffins, a potter spinning his wheel and pulling up clay into the shape of a vase? There is something satisfying in seeing
these processes and how things are created. One can have a clue on the skill set, materials, and methods required to get the
task done.
In the same way, we can all learn to appreciate art by taking time to carefully look at the “ingredients” that make up the
different art forms.
This lesson will cover three topics. Elements and Principles, Design Psychology, and Materials and Techniques. These are
meant to help you gain first-hand experience on the creative process and what goes on inside an artistic pursuit.
ACTIVITY:
1. Draw a tree but with different methods:
a. Draw using your non-dominant hand
b. Draw in a square world where everything is square
c. Draw using continuous lines
d. Color only the outside of the lines
ANALYSIS:
In the activity, did you observe how a simple change in how you interpreted a simple object gives a different dimension to
the subject matter? What does each box, with the tree, remind you of after doing the exercise?
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2. Examine: Research one of these artists. Try to observe how they used paint in their works. Simply focus on the
techniques.
a. Jackson Pollock
b. Rembrandt
c. Vicente Manansala
d. Ang Kiukok
ANALYSIS:
How did they treat the material? How would you describe their paintings in terms of aesthetic appeal to you?
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ABSTRACTION: What’s in a circle? Art Elements and Principles

Elements of art are the formal or tangible aspects of art. These are termed as elements because they are the “medium of
language” of visual arts. The following are art elements:
a. Line – Lines can be expressive and have a quality of its own like: scribbles, whimsical or naïve lines, implied
lines, blurred lines (lines that are smudged, shaded or erased), aggressive lines, and calligraphic lines
b. Shape – Three basic kinds: geometric, biomorphic, and amorphous. Shapes can also be implied (shapes produced
by the negative space)
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c. Form – Three-dimensional shape. Can refer to the quality or likeness of an entire mass, let us say, the form of a
woman. It employs several techniques like shading, perspective, and lighting
d. Value – the lightness and darkness of a hue or a color. Often represented in a tonal value scale, it has two parts:
the tints (lighter tones) and the shades (darker tones). A tone is a general term for a certain value
e. Color – also known as hue. Scientifically, it is the light that bounces off a surface. In art we use subtractive
colors, i.e., colors that are from pigments. Additive colors refer to a property of light
f. Texture – can be used in paintings like impasto, stamping, and scratching in pottery, embossing when making
prints, and many others. Contemporary artists have also used the element of texture to convey a certain emotion
g. Light – without light, all the previous elements will not be possible. Light creates the illusion that color, form,
and texture exist. Light can be implied, natural, or artificial (as with a digital rendition). The lighting of an
artwork has a very strong effect on its overall impact. An example of strong and theatrical lighting is called
chiaroscuro
h. Space – an area where the other elements can interact. Two types: positive and negative space. Double negative
space refers to a blank space used as negative space by, let us say, a field of color or pigment
What is representational, abstract, and nonrepresentational art?
Representational simply means it mimics what is real or what can be seen. The image is recognizable as interpreted by
the artist. Abstract on the other hand is a modified interpretation of something that exists, but it becomes hardly
recognizable. Lastly, nonrepresentational art is purely concerned with forms, shapes, colors, and the rest of the elements.
It does not represent any other subject matter outside of itself.
After learning about the elements, let us now study how they interact with each other in some of our favorite art works or
designs.
There is a certain appeal to the eyes when something is repeated on the ceiling of a restaurant like an undulant installation
of wood. The well thought arrangement of colors in an interior makes it appealing to clients.
Principles of Design are long held composition techniques which have been proven and used by both fine and graphic
artists to communicate ideas and concepts effectively. There is a variety of proposed principles but here are some:
Design principle which uses the element of value to create depth and
Contrast dimension. Light also plays an important role in creating good contrast
Harmony Elements are related to each other in terms of form, color, theme, etc.
Aesthetic quality of a work marked by a sensible balance between two
Balance (Symmetrical and Asymmetrical) areas: right and left; top and bottom
Creating a sense of direction through repetition of elements. Movement
Rhythm and Movement direct the viewer’s eye toward something
Elements should be seen as a whole in unity, variety still gives a sense of
Unity and Variety wholeness but the elements differ in some aspects and provide more
interest to the work
An area or a specific subject is given focus, hence other parts of the
Emphasis and Subordination picture are subordinate
This can be either an appropriate use of scale and proportion or it can
Scale and Proportion also be an effective way of changing the scale to achieve a certain visual
goal. It also shows relationship between the object and the space
Shows three-dimensionality of a space through the use of perspective
Depth and Perspective lines and vanishing points
APPLICATION:
What is wrong with these drawings?
Consider these illustrations. Analyze why they fall short of good composition or design
ANALYSIS:
These are some artworks that effectively used some art principles. Describe each image and state why the use of a specific
principle became effective in increasing/improving the impact and quality of their works. See if you can also find more
principles present in the work. Compare your answers with those of your classmates. Use the space beside each image to
briefly state your answers.
PSYCHOLOGY IN ART:
Why include this idea in the study of art-making? Relating art to how the brain receives and interprets symbols and
images can benefit one’s decision in effective visual communication. Art, in a way, is a method of psychology and in
understanding how people perceive images, create meaning and connect those meanings together. In this topic, we now
integrate the “why” of art-making into the previous topics of elements and principles.
GESTALT THEORY – this strategy tends to sum up an idea into one iconic imagery. It often plays with the negative
and positive space and makes use of both. Consider the example on the foregoing.
This is an example of Gestalt. Since it seems to become a summary of the information that the artist wants to present, this
approach is very effective in making logos. Look up the logo of WWF (World Wildlife Foundation). You will notice the
form of the panda right away. However, upon close examination, the image was actually formed using disconnected
shapes and lines. Such is a principle of Gestalt that communicates the whole as the summation of its parts. If you are more
inclined toward math, you can understand the idea of summation here and probably relate it to aesthetics.
COLOR PSYCHOLOGY – colors have imbibed certain meanings. Whether it is a social construct or a product of
association, these hues certainly appeal to our understanding of the world based on how they are used. Here are some
examples:
White: pure, Yellow: optimism, Violet: royal, Black: glamor,

pristine, clean, confidence, hope, luxury, quality, integrity, stability,
and neutral friendliness authenticity efficiency, status
Blue: must, longevity, Red: strength, power, Gray or Silver: Pink: childish,
formal, logic, calm, cool, reliability, warmth, nature, neutrality, cleanliness, comfort, fragrant,
serene, intelligence, and heat, support, and classy, dependable, friendly, calm,
communication seriousness sturdy and innocent
What is your favorite color? Can you find its meaning among the examples mentioned in the previous page?
Compositional function of lines and shapes – A composition is basically how the elements are arranged in space with
the intention of artistic expression. Here are some compositional devices used by classical artists and are still evident these
days: (give sample imagery)
a. A half circle, often used in domes for some classical paintings and even modern architecture, symbolizes
femininity because of its womb-like shape. Since it has no corners, it also resonates eternity. Socialism in art has a
different connotation for the circle, which states about people’s equality.
b. A triangle, when used in a composition suggests relationship. In Leonardo Da Vinci’s “Madonna of the Rocks”
the triangular arrangement of the figures, with the Madonna at the apex may suggest stability and inclination
toward the central figure.
c. An implied line or line movement in a painting may intentionally lead a viewer to a focal point of the subject
matter.
APPLICATION:
Create your own logo, emblem, or symbol based on the guiding principles of art and psychology. The image can be about
a particular advocacy you want to promote, a tool or gadget you envision creating in the future, or just simply you as a
future professional. What color would represent your envisioned brand? What would be the shape and what does it
symbolizes? How would you compress information yet have a strong impact in your imagery? Draw and color your
branding or logo in the box provided.
What is a medium?
A medium, like in language, is the tool or the material used in realizing the expression. In visual arts, this is the term for
the materials used in specific types of technique, let us say, dry media for drawing. It can include pencil, charcoal, or
pastels. Watercolor is an example of wet medium. Non-conventional types may include mixed media, computer graphics,
and even found objects.
ACTIVITY AND APPLICATION:

Explore Materials and Techniques by doing any of these activities. If the next procedures are not possible (e.g., you
have no knowledge of video editing), you may stick with the first procedure or activity.
1. Cover a bottle with different materials. Discover what you can use as long as it can stick to the bottle. Use glue if
needed. For ideas, you may cover with clay, papier mache, sawdust, transparent material, decaying material,
something rubbery, etc. Create at least four variation of the covered object. Put the bottles next to each other.
2. Photograph each bottle. Use lighting and explore backgrounds that can complement your work. Just be
experimental. Layout the photos together. How do they look?
3. Create a 10 second clip or gif with a person interacting with the bottle.
ANALYSIS:
Realize that we can actually categorize what you just did into the following suggested categorizations:
o 2-Dimensional: photography, drawing painting, printmaking, etc.
o 3-Dimensional: found objects, casting and molding, subtractive and additive sculpture
o Ephemeral: performance art and video art
Reflect on how different materials and techniques can change the character and narrative of an object you are portraying.
Answer the sets of questions below.
a. What do you think is the most dominant design principles in the set of bottles you made?
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b. How did each covering change your perception of the bottle? Describe each bottle:
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c. If you were able to reach until the third procedure, how did another approach to art-making (filming) change the
context and the function of the bottle? What ideas were you able to come up with as you interacted with the
differently covered objects?
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ABSTRACTION:
More often than not, you might encounter a time in your life where you can envision a painting or a sculpture that depicts
an idea, an emotion, or an experience of your own. As one writer says, we all have a work of art in our minds. However,
not all of us can translate this into reality. This is where the skill or the knowledge of techniques and materials become
essential. That is why there are artists – skilled and talented individuals who can help us address our non-verbal yet
significant human expressions. Also, we should not miss the fact that because lots of materials are now available and have
become valid forms of art, our expressions need not be limited to drawing or painting. Technique, on the other hand, takes
time and practice. Combining the two, excellent techniques applied to materials, art expression becomes more successful.
Example of an installation art. This type of art is ephemeral considering the type of materials used, which are wood
shavings.
ASSESSMENT:
1. How do you think these elements and principles are coherent/parallel with other art disciplines (music,dance,etc).
Do you think it makes sense that they are called elements and principles?
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2. Critique: Do you think it is necessary to study first these knowledge for a person to be able to create a good work
of art? Why or why not? Do these terms pre-empt an artist’s experience through solid facts? Why or why not?
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3. What can you say about the experience of creating something for artistic purposes? From the last activity you
performed, can the process help you to think of a related concept or idea? If you were to use the products of the
application part, how and in what concern or issue? Challenge your mind to think out of the box and compose
something thought-provoking.
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LESSON 3: HOW DO I STUDY ART?: READING ART
Objectives:
 Learn about art history, art criticism, and art theories (methodologies)
 Relate art history to significant events that transpired in the last few decades
 Construct proper art criticism by asking appropriate and relevant questions
 Learn the different methodologies of looking at and reading art
INTRODUCTION:
The most boring topic: How did Art begin?
History may be quite a sedentary topic, often associated with memorizing events and becoming familiar with
chronological events. However, if we want to have sensible knowledge about art, it is appropriate to just look into the lens
of the past. How can we better understand the climate of art now if we do not know how it has been influenced by artists
who strove to evolve the meaning and expression of art?
In the first lesson, we will have a quick run through of historical markers in the art scene. Through this, we can better
understand the present and where some analogies and appropriations in art came from. Writing about art will also be
easier if we have knowledge of historical context: the experience of art will become more holistic and more fulfilling.
A detail of neoclassical relief at the National Museum old Senate Session Hall
Weaved into this lesson is the topic of Art Criticism that will help and guide you in knowing what kinds of works to
select and hopefully enhance your taste in art.
An art period is a specific length of time in history with a prominent movement, trend, or creed in artistic practice. Art
movements are sets of distinguishable styles and artistic tendencies often characterized by a major trend in techniques or
approach. Usually, they are named with the suffix “-ism” at the end. It suggests a certain attitude toward painting or any
art-making.
Art History Quick Map:
This quick map to Art History is intended to be brief and concise but should also urge you into further exploration of
some art periods.
Prehistoric:
- Cave paintings, Venus figurines which are considered portable sculptures
- Greek standard of beauty: the birth of the “Classical” Age
- Romans: the competitor of Greece; created realistic sculptures of human figure
Middle Age:
- The “death” of artistic freedom due to canonical standards of visual interpretation
- The rise of Gothic art especially in Gothic Churches
- Popular art: Stained glass windows and illuminated manuscripts
Renaissance:
- Revival of artistic genius
- Where the term “Renaissance Man” was derived because of man’s intellectual achievements in arts & science
- The time of “Masters” e.g., Donatello, Da Vinci, Michelangelo, Raphael, and Van Eyck
Baroque:
- Grandiose and ornate art
- Artistic innovation: “spotlight effect” called chiaroscuro or in extreme usage, it is called tennebrism
- Artists to note: Caravaggio (Italy), Velasquez (Spain), Poussin (France), and Antonio Gaudi (designer of
“Sagrada Familia” chapel in Barcelona)
19th Century:
- Emergence of “isms”
- Neoclassical: Greek and Roman Classics revived
- Romanticism, Realism, Art Nouveau, Impressionism
- Photography comes into the scene
- Post-impressionism, early expressionism, and symbolism
20th Century Modern Art:
- Art became more non-representational
- Garish colors explored in Fauvism
- Abstracted sculptures emerged
- Simplified forms in paintings by Picasso and Matisse
- Art movements: Cubism, Futurism, Constructivism, Expressionism
- Mondrian’s purely geometric art
Art During the Wars:
- Dadaism: the art movement that defies logic
- Surrealism: stepping into the dreamworld
- American art blossoms: Jackson Pullock became famous as “Jack the Dripper” and paved the way for
American Abstract Expressionism
- Mobile Sculptures (Alexander Calder) and Color Field (Rothko) paintings also became prominent
20th Century to Contemporary:
- Highly experimental and radical
- Pop art defines consumer culture; dominated mostly by works of Andy Warhol
- Minimalism: glorifying the simplest art elements
- Birth of conceptual art
- Photography is further developed which paved way to art movement, Photorealism
- Neo-expressionism or new expressionism is characterized by strong subject matters
- Contemporary Art: a very diverse art scene; the rise of appropriation, photography-derived works, graphic
style of art, experimental works, multimedia and multi-modal art
ACTIVITY:
To make this learning about art history more intentional, let us further process and assess the information provided
previously. Learn more about some of the art periods through this activity:
1. Split the class into groups of 8
2. Assign each member of the group with a particular art period
3. Search books, e-books or you may refer to the pdf book (compiled in the accompanying CD of the book) about
the assigned topic. Then collect 2-4 pictures that would best represent each art period. Do not collect more than
four. Pick artworks that intrigue you and that which you will be able to discuss to the class. The objective is for
the students to become familiar with the historical period where the artwork belongs.
4. Compile the works (in no particular order) in either of these formats:
o PowerPoint slides
o Picture booklet
5. Play a game in the class. Each group will show their output and let the others guess which period it belongs to.
Give an explanation about every artwork after revealing the correct answer.
Insight: If art history is an objective study of art, art criticism will teach us to apply critical thinking when looking and
interpreting forms of art. Hence, history directs us to a more holistic critique of art.
Art Criticism
Artworks are didactic in nature, therefore they demand a response. However, oftentimes, being confronted by artworks is
quite perplexing. Meaning is sometimes inaccessible to the commonplace person.
However, if you are a work of art, how would you like to be criticized? Do you want to be judged or dismissed right
away? Or would you rather be examined carefully first before arriving at a conclusion?
Most of us will choose the latter. It is the same with artwork analysis and art criticism. Indeed, it is more proper to know
more about an artwork before arriving at a judgment.
ACTIVITY AND ANALYSIS:

Let us say we are in a gallery. There is a particular work that strikes you. The curator comes to you and asks you how he
may help. You do not know exactly where to start with your queries. How do you actually read an artwork? You just
know that you like it. Some people have a background in psychology or art criticism that makes them familiar with
semiotics (study of signs). But what if you have none of those?
Let us say this artwork below is what you saw
Now, critique the work based on the following. Write your answers on the spaces proviced.
1. Formal qualities: simply enumerate the elements that you see: the quality of lines, shapes, colors, etc.
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2. Subject Matter: What is the artist tackling about? Can you see any representational forms? If none, what do you
think is the main subject matter?
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3. Composition: Consider the arrangement of objects, people, or elements. What is most prominent? Who or what is
on the foreground, middle ground, and background?
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4. Technique: Looking at the technique and manner of painting and composition, how is it related to the artist’s
objective?
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5. Content: What do you think the artwork is all about after carefully examining its parts? What story, message, and
argument is the artist trying to tell?
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6. Analysis: Further dig into the artist’s intention in terms of the relationship of each part to the whole. Keep asking
why, and try to answer them on visual clues. Research further if needed, especially if there is historical connection
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7. Your own criticism about the work: provide a coherent and convincing judgment about the work.
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What you have just done here is an exercise in art criticism. As you can see, it takes some careful observation before one
can deduce meaning and interpretation about an artwork. This is just a suggestion on how you can critique better and
apply it to almost any work of art.
ASSESSMENT:
Many of us like entertainment and social media. It is flamboyant, noisy, and easily catches our attention. We often just
take in the information and news they provide without sifting through them and realigning what we have heard or seen
with our values as a person. In the discipline of art criticism, what did it teach you about the act of looking? Should you
just accept what is placed before you? Why do you think it is better to counter-check every judgment or thought that
comes into our hands, not just in art, but also in everyday life? Write down your thoughts:
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ABSTRACTION:
Art Criticism as mentioned by James Elkins in the essay, What happened to Art Criticism, is a discipline of the arts that
seems to be both healthy and dying. If you live in a city where there are art galleries and museums, you will notice that
these institutions produce exhibit notes and pamphlets that give a little bit of informative and elaborative writing about the
artworks on display. However, this is not widely practiced in the academe, especially in terms of General Education. Do
you think this is an important skill to learn? Why or why not?
Methods in Reading Art:

What is method?
Think of methods as filters that help you appreciate aspects of art in different lenses. There are some filters that are more
effective than others, especially when we talk about context and content.
Have you encountered philosophy as a required subject to study? Philosophy has been man’s attempt to make sense of
why we do what we do. If we want to become more diverse in our approach to learning, art methodologies is one of the
means and these are mainly hinged on long-held philosophies. Depending on what the art is talking about and where it is
from, we can read it in a non-biased way through these approaches:
1. Formalism and Style – basically gives importance to the formal qualities (art elements, materials, and design
principles) as basis for the meaning of art. Roger Fry is a major purveyor of this thinking. The form is the content
per se and does not take history and context into account.
2. Iconography – Focuses on the subject matter primarily over form. When using this method, you will answer
questions like: who is this person the artist painted and what does it represent? Why did the artist choose this
image and what for?
3. Contextual Approaches – From the term itself, context becomes an important factor in criticizing artworks here.
We can take many approaches to contexts like Marxism, Orientalism, Colonialism, Racial Iconography,
Feminism, and Gender. As you can observe, these are mainly schools of thought and philosophical movements
which place an artwork within a certain parameter. For example, Marxism is about art in relation to economics.
On the other hand, Feminism is bent toward the societal context of art wherein gender becomes a strong factor in
the forces behind an artistic creation.
4. Biography and Autobiography – Considers the life and context of the artist. This approach is based on the
assumption that the artist’s life, beliefs, choices, and personality are directly connected to the works that he or she
creates.
5. Semiotics – From the Greek work “sema,” which means sign. Hence, an artwork or art form is assumed to be
composed of a set of signs that may have significant cultural contextual meanings beyond itself.
6. Psychoanalysis – Freud is probably a familiar name in the field of psychology and he is one of the basis of this
theory. In psychoanalysis, one is concerned about the unconscious mind in relation to the artist, the viewer, and
the cultural context it is involved in.
7. Aesthetics and Psychoanalysis – Individual notion of what is considered acceptable, beautiful, or attractive in
works of art are in part influenced by psychological factors. This approach then connects psychology to one’s
constructed philosophy of art.
ASSESSMENT:
After learning further approaches on reading art, analyze this artwork using three of the methodologies discussed.
“The Fall of Man” by Cornelis Cornelisz Van Haarlem
Method 1:
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Method 2:
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Method 3:
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LESSON 4: WHO IS AN ARTIST?
Objectives:
 Understand and appreciate the lives of artists and craftsmen: why they create art and for whom
 Be aware of the issues surrounding the lives of artists and relate it to your own set of experiences
 Develop an attitude of inclusivity when it comes to artists, especially those with physical disabilities and mental
incapacities
INTRODUCTION:
“…there is an art of the future, and it is going to be so lovely and so young that even if we give up our youth for it, we
must gain serenity by it,” Vincent Van Gogh in his letter to his brother, Theo.
Vincent Van Gogh “Self Portrait”, 1889
Why did Van Gogh dedicate so much of his life to the future achievements of art? His presence is now often seen in
restaurant interiors, in the web, and even on novelty items. The price of his works has skyrocketed to millions of dollars.
His renowned, and a favorite of most, “Starry Night” rings a bell to a lot of people.
Artists then have a certain kind of power. It does not lie on money or politics, but on his or her capacity to influence. The
question now is, for what purpose will that power be used?
On the other hand, behind Van Gogh’s artistic achievement was a history of struggle over whether his art would really
matter later on. He was also human. He never saw the pinnacle of his artistic career in his lifetime; but he had a vision and
an artistic mission that we all benefited from.
What if, there are no artists such as Van Gogh who would envision the future of art-making that we all enjoy today? As
much as master artworks tell us a lot of stories, the lives of artists are also as colorful and mysterious. Studying their
struggles, issues, and victories can enhance the way we view art and life in general.
ACTIVITY:
In these series of activities, we will try immerse ourselves in the lives of artists. Be an active participant and observer in
each activity.
1. On artist rivalry
Read this comic strip about a dialogue between Michelangelo and Leonardo Da Vinci
To study and draw a perfect human form, I

must dissect cadavers and study it
scientifically. The flesh and bones are
fundamental in the pursuit of perfection.
You know this block of marble here,

there is a form waiting to be discovered
inside it. I must subtract from this block
and let that figure out! But before that,
I shall drink first for inspiration!
ANALYSIS:
This may be just a hypothetical conversation between Leonardo Da Vinci and Michelangelo in terms of their art-
making but the contrast tells us a lot about their individual approach toward the artistic process.
a. If you can meet Leonardo Da Vinci today, what kind of person do you think you would encounter? Based on
the comic strip above, write your assumptions below:
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b. How about Michelangelo? What type of personality does he have? Briefly describe him from what you have
read in the strip.
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c. How do you think can artists use rivalry constructively? How about envy? How can it be used positively?
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2. On emulation
Think of three to five people you really admire and want to emulate. They may be linked to the areas of your
talents or skills and even interests. List them below:
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ANALYSIS:
What do you think about these people, what makes them great? What do you feel when his or her name comes
into your mind? Write your reflections below:
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3. On inclusivity
Read this short bibliographical excerpt about Chuck Close, an artist
In 1988, a spinal blood clot left Close almost completely paralyzed and confined to a wheelchair. This posed a
great challenge to the artist’s career. However, with much determination, a device was developed to strap a
brush to his wrist and forearm which allowed him to continue working. Since this method limited his mobility,
he replaced the minute detail of his earlier paintings with a grid of tiles daubed with colorful elliptical and
ovoid shapes. Viewed up close, each tile was simply a collation of circular shapes and colors, but when seen
from a distance, the tiles come together to form an image of a seemingly “pixelated” human face. In 1998, the
Museum of Modern Art in New York City mounted a major retrospective of Close’s portraits. Close has been
called a Photorealist, a Minimalist, and an Abstract Expressionist. But most of all, he was an artist ready to face
the challenges of his physical limitations.
ANALYSIS:
What did the article tell you about the artist? What happened to him? How did he adapt to his disability? What
can you reflect on the reality of physical limitations (or even mental, e.g., dyslexia, depression, schizophrenia)
and the challenge that this poses to artists?
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ABSTRACTION:
The Artist Process
Unlike the common notions are too spontaneous, laid back, and unsystematic, individual art practitioners do need
to have sets of procedures and disciplines. Even the most spontaneous ones work with a process, however simple
and succinct. Artists are also thinkers and even great inventors and scientists. The creative process is also a
problem-solving approach involving a lot of systems of knowledge. Art can cover a lot of subject matters from
science, philosophy, and even practical living. It can also be applied to such areas of knowledge. As Einstein said,
“After a certain high level of technical skill is achieved science and art tend to coalesce in aesthetics, plasticity,
and form. The greatest scientists are artists as well”
The diagram does not necessarily precede artistic creation, but it comprises the elements that tie-up together in the
conception of a triangle art form:
why: the narrative

how: the
behind the subject
techniques and
matter; the
materials involved;
concept and
the process
underlying
involved
ART significance
what: the subject

matter, the
content of the
work
Rivalry, Envy, and Artistic Preferences
The issue of rivalry and comparison is not new to the art scene. This may sound negative, but it can actually yield
some positive things. Let us take for example the rivalry between Leonardo and Michelangelo. What they were
arguing about actually gives us a broader understanding of the arts. We cannot say that one artistic process is
better than the other, but we can truly see that both resulted in major contributions to the development of Visual
Arts. In addition, lots of artists can become discouraged by envy, especially if the envied person seem to be way
ahead of his contemporaries. However, envy can have a constructive effect if taken in a different way. As a
famous adage says “good artists copy, great artists steal.”
Inclusivity of Artists
In the previous activity, we came to realize how artists are also subject to human frailties. There is Chuck Close’s
paralysis. Van Gogh’s mental health condition, and Jackson Pollock’s problem with chronic drinking which
caused his death. Working with art is not always working on a dream job: setting up an easel in a studio
overlooking a breathtaking view. It is actually the very opposite. It is a daily wrestle between survival and
passion. It does not always promise monetary returns, often side jobs are needed to survive a life as an artist,
especially in third world country as ours. Hence, the pressures of life along with the demands of art-making are
cause some psychological and physical stress to the artist’s life.
Hans Prinzhorn produced a book about the Artistry of the Mentally Ill. This is a good contribution to the vision of
dignifying people with mental disabilities or incapacities.
Democratization of culture, which is evident in the 2019 edition of the Cultural Center of the Philippines (CCP)
Encyclopedia, has blurred the line between high and low art. Hence, we should also strive to change our attitude
toward those who are considered the elite of the art scene because of their educational backgrounds and those who
were not privileged to obtain a degree but are prolific in their own art-making. The craftsmen’s craft and the non-
degree holder artist deserve the same value or valuation as those given to works hanging on the pristine white
walls of museums and galleries.
Added Insight: Valuing of Artist’s Process and Work through Money

We have seen how in the latter part of Van Gogh’s life, which was actually his death, the value of his works shoot
up to millions of dollars. Why do we equate money with the value of art? Why the need to spend money on art?
When we consume something, it means we either need it or want it. But have we wondered how we spend our
money and on what? More often, we do not see the point in buying art because of our problem with taste. How is
this? Let us take for example our fondness for fast food and branded but overpriced items. What we buy also
defines what we value. If we do not value our health, naturally we will just but whatever we crave. But, if we
value our well-being, we buy things that are good for our physical bodies. Hence, if art reflects our nobility and
highest potential, how do we value it in terms of expenditure?
APPLICATION:
Write a short biography of an artist whom you know but is not yet established in the art scene. How would you
promote him or her? From the biography, imagine yourself creating exhibit notes printed on nice glossy paper
together with some of his or her work. How would you present him or her in a way that is convincing to your
target audience or market?
Use the space below for your publication material complete with text and photos
ASSESSMENT:
1. What are the issues that artists face in terms of interpersonal and intrapersonal dimensions? What causes these
conflicts?
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2. In your own opinion, what are constructive ways to approach these challenges? Instead of focusing on the
problems, how can they benefit the people concerned?
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LESSON 5: IS ART FOR EVERYBODY? ART AND THE SOCIETY
Objectives:
 Realize the importance of art critics when it comes to educating ourselves with taste
 Compose for oneself a set of standards for individual taste
 Adjust one’s mindset to the idealistic qualities of art and the practical reality of economics
INTRODUCTION:
Does art really have a direct impact on society? One of the crucial questions I had when I was a graduating student of a
Fine Arts program was the possible contribution of my thesis work: first to the art scene and then to our society.
Hence, it has been one of my life questions as I finished my degree. My work was not a social realist work. Hence, how
would it help to my fellow countrymen? Time and experience have taught me that we must first understand who we are
and in this case, our citizenship. With that we must gain a sense of responsibility. A good artist must be a good citizen
first and everything else you do must hinge on what you believe is good, true, and beautiful for your country and society.
However, as part of society, sometimes what hinders us from appreciating art is our poverty. Not in terms of money, but
in our awareness of the things that are really of more valuable than money. Art is a powerful tool, as we have seen in the
seven functions presented at the beginning of this chapter. Society as recipient of the arts and what they are trying to
engage us in are also part of what circulates around in our art scene. What we consume also dictates what is circulated.
Hence, we are an important player in the kind of artistic culture that we have. What we consume has an impact on what
we value as a society.
This signifies the importance of education, and in our case, art education.
ACTIVITY:
Complete each picture by adding and connecting to the lines or shapes. Work with a partner if you have a hard time
illustrating. Label each box according to what you have drawn.
ANALYSIS:
Based on the activity you have just done, answer the following questions:
1. What were the limitations of the activity?
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2. Why do you think you drew what you drew? Did it reveal anything about your influences as a person? How about
your partner (if you worked with someone)?
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3. In your opinion, what do you think are the limitations of our society’s setting today (political, economic, and
social) and how does it impact an artist’s career?
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4. In the activity, you were given preliminary sketches that functioned as a force for you to add something to it. In
the same way, what do you think are the forces behind the production of art? Give three basis as to why artists
create:
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ABSTRACTION:
For whom should art be made?
For a more holistic study of art, it is important to question and to ponder on the forces that influence the creation,
circulation, and consumption of art. If you encounter a person with full body tattoo in Kalinga province of the North, how
would you react?
When we are trying to critique an artwork, a lot of things should be taken into consideration; and in this regard, the reason
why it was made. Finding an answer to this can give more value and meaning to a work of art. We will not just easily
dismiss it as boring or grotesque.
In understanding the forces behind the creation and production of art, we may consider these factors: personal belief or
values (be it as an institution, a community, or an individual), practical needs (it could be survival or developmental), and
the audience’s level of consumption. These forces can be academic institutions, galleries, museums, ruling classes of
people, media, church, and even a small group of indigenous people with sets of beliefs and traditions.
ACTIVITY:
To aid us further in understanding how we, as recipients of art forms, influence its production, fill out this simple exercise
on taste, but under time pressure or only 3 minutes. Afterward, you will share your answers with groups of 4 – 5 students.
What kind of gadget would

you need inside your bag? How much are you willing
to spend for the gadget?
__________________
______________________
__________________
simple What is your most
important accessory? What should be the brand
of this accessory?
___________________
__________________
___________________
Test your TASTE
How would a multi-functioning pen
serve you? Name 3 primary functions How much are you willing
___________________ to pay for this pen?
___________________
___________________
___________________
sophisticated
If you have to travel 12 hours Who are the author that
straight in a bus or plane, you should look for?
what kind of book would you
need? ____________________
____________________ ____________________
ANALYSIS:
After doing the activity, let us now assess your answers.
1. What do you think are the bases of your responses? How did you find the activity: easy, unsure, or just a bit
challenging?
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2. If it was hard to decide what answers to write, why do you think so? What makes it difficult to gauge what you
like?
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3. If you did the activity in less than 2 or 3 minutes, what were your main influences in your answers?
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4. How do you think having “good taste” can influence the way we live our lives? Does it always entail expensive
things?
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ABSTRACTION:
Educating for taste
What is taste? We Filipinos often associate this with dating. When we see a friend of ours with a girlfriend or boyfriend
who has good looks and even good background, we can easily mutter, “You have good taste.” But this is not the kind of
taste we are interested in. Yes it can be applied to that, but taste is more concerned with our choices of consumption: what
we spend our time, our money, and our efforts on.
In our tastes, what do we value? The things we value, do they make the quality of our lives better – mentally, emotionally,
physically, economically, and even spiritually? Later on, when you graduate from college and start earning money, you
will instantly become a market for so many things. Wise expenditure or spending our money wisely is quite rare these
days. Reflect on these words by author Alain de Boton:
“When money is allied with taste – that is sensitivity to what is good and beautiful as well as true to our rather
inarticulate need – very good results can follow in areas from food to housing to media.”
What is an art connoisseur?

Someone who has broad knowledge and rich understanding of the current art scene, of relative art history, and artistic
philosophies. They are experts who can be trusted in having the eye and taste for good art.
But how should we know which to value, and in this sense, how to value art works and products of our culture? Here, we
can start to understand the role of Art Critics. These people who use writing as a means of communication are trained in
seeing and looking at works of art and judging their value based on a good set of premises. Sometimes they are also called
art connoisseurs. Art Critics help us understand and supplement our knowledge of art forms. With their indispensable
role, we can better evaluate our tastes and even be wiser in what we consume, not only in art but life in general.
APPLICATION AND ASSESSMENT:
Let us say you have 10 million dollars to spend. Now you have the chance to buy some artworks and hang them on your
imaginary wall. What kind of works would you buy and put on this wall? Print and paste the artworks. A suggested site
for you to gather some works is https://useum.org
Chapter 2 I AM A FILIPINO BUT I DON’T KNOW MANANSALA!
REDISCOVERING PHILIPPINE ART
INTRODUCTION:
Philippine art in general is poignant, romantic, and even nostalgic. Before we were influenced by Westerners, we were
already developing our own sets of culture and values. During the colonial period, gradually we became infused by
foreign influence. In a way, it is quite saddening how the good heritage of old Filipino manners, ethics, and even cultural
markers like our own “baybayin” were superimposed by newer trends. Most of us, especially in our generation, cultivated
the idea that old fashioned is old school. Even the beautiful way of courtship is gone in the mist of the past: no more
haranas and fewer dalagang Filipinas. Philippine art, on the other hand, has been conscious of these changes and has
become a way to reminisce and remember our old virtues and rich roots. That is why it is very important to study
Philippine art. It is part of our identity and that simply because we have a beautiful culture worth celebrating.
This chapter is focused on our national identity. Let us try to look at it with fresh eyes as if it is the first time we see
ourselves in the mirror of our rich and creative culture.
COMPETENCIES:
At the end of the chapter, the students should be able to:
 Express their devotion to and interest in their national identity through Filipino-inspired outputs such as writings,
art criticism, and simple artworks;
 Be able to articulate knowledge about prominent and notable Filipino artists: their lives, works, and influence on
the country;
 Incorporate their national identity when criticizing works of art by Filipinos; and
 Interact and respond to the arts by being able to go to museums and galleries and writing reviews or blogs about
works of art.
LESSON 1: HOW PHILIPPINE IS PHILIPPINE ART?

A SURVEY ON THE MARKERS OF OUR ARTISTIC CULTURE
Objectives:
 Analyze and critique qualities of Philippine art through some Filipino artists presented
 Recognize notable technical characteristics and innovations of Filipino artists
 Apply the Filipino subject matter or technique through a simple creative output
INTRODUCTION:
Applying the knowledge of art criticism here, we can see how such painting rendition of Amorsolo’s work mirrors the
function of art we have studied before. The subject matter, the context, the imagery, and even the use of light here
obviously signifies something local, hence presenting itself as a reminder of our culture and even a sense of identity.
We do have an identity. Filipinos are actually art lovers. We love grandiose and colorful things: these are so evident in our
jeepneys, the colorful decorations of Pahiyas Festival, our native pigments and colors, and even our clothes. Sometimes
we do not even have a sense of color harmony because of our love for colorful things. Nothing is wrong with that. Our
diversity is indeed reflected in our art forms and it makes us united and unique.
ACTIVITY:
Using the photo from the introduction, practice applying the criticism steps you learned from the previous chapter. Dig up
as much Filipino qualities in the work as you can. Use the space below write your criticism.
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ANALYSIS:
Look up for Fernando Amorsolo’s other works if possible. If not, refer to the example given.
1. Upon closer observation of Amorsolo’s works (or the rendition presented), why do you think was he dubbed as
the Painter of Philippine Light”?
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2. What do you think are the qualities of Philippine art? In you opinion, what makes Philippine art Filipino?
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3. When the modernism came in, what do you think happened to Philippine art? How have we preserved our identity
despite the influences? How has it shaped our minds about the past?
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ABSTRACTION:
Filipino artists are important forces in the formation of our national identity. Images and the culture of making artwork
has power in itself. These are some notable artists who have captured our Filipino sensibilities in their own way.
1. Fernando Amorsolo interpreted the “Philippine Light”

a. We can compare his style with the impressionist painters who also aimed to express the simple beauties of
nature and life. Such artists are Auguste Renoir, Edouard Manet, and 19-centure portrait artist Auguste
Dominique Ingres. Because of Amorsolo’s expertise on his medium, which is oil, and his sensitivity to light,
Amorsolo was able to paint luminous skin as light strikes it and creates a certain glow. Others even say that
you can almost feel the blood rushing underneath the flesh.
Analogous is a type of color harmony which technically means those colors that are next to each other in
the color wheel
b. He was coined as the master of Philippine light. This is the kind of light that when it strikes tanned flesh or
the leaves of trees for example, one can immediately see a range of analogous, or related colors such as
yellow green, yellow, and white that appear at the same time and makes one feel the warmth of the scene
created. Because of his excellent style, his paintings never fail to bring back the warmth and idyllic scenes of
Philippine provinces and traditions.
2. Vicente Manansala developed his rendition of transparent cubism technique

a. Cubism was pioneered jointly by Pablo Picasso and George Braque, and was described to be the most radical
innovation of art “isms” since it contrasted greatly with the classical perception of beauty. It uses overlapping
and multi-perspective geometric shapes and forms of the chosen subject to produce depth.
b. The cubist aspect of Manansala has broader facets and planes than original cubism so they bring out larger
rhythms and is closer to Synthetic Cubism rather than its earlier phase, which is Analytic Cubism. He further
developed it into transparent cubism, which shows panels of shapes interfacing each other.
c. Unlike Amorsolo, Manansala echoes the proletarian painters of the United States. His works were non-idyllic:
emotions and backgrounds showing evidence of real events happening at his time like poetry and economic
depression, and skin tones are not luminous but rather kayumanggi.
An example on the application of transparent cubism
3. Hernando R. Ocampo’s style was considered by some critics as the most Filipino
a. Most of HR Ocampo’s works are purely abstraction, therefore it is hard to pinpoint why he was described as
the “most Filipino” painter ever. However, it is not the content but rather the style of his works where one can
see his unique painterly approach.
b. What is unique in his works are the abstract compositions of biological forms that are portrayed in bold
strokes of colors that seem to oscillate before your eyes. His subject matters are usually nature’s flora and
fauna, hence reflective of the natural beauty of his country.
4. Napoleon Abueva’s modernist but Filipino-themed sculptures

a. Characterized by the planar and geometric look of his sculptures, Abueva veered away from the conservatism
of his mentor, Guillermo Tolentino (known for sculpting the University of the Philippines’ “Oblation”).
b. He still kept Filipino themes in his sculptures such as rice planters, mother and child, carabaos, and the like.
However, his bold and edgy interpretation of such themes intensified the kind of spirit present in his dynamic
and often monumental sculptures.
Create a simple drawing, take an original photo, or paint a simple abstracted design which best represents your idea of
Filipino art. Use your local roots: where you came from and what you commonly see around you.
ASSESSMENT:
1. In what ways are the artists different and diverse despite their common goal to depict Filipino distinctions?
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2. In your opinion, how do their differences in styles help the quality of the art scene in the country?
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3. During the 1950’s, there was a faction that emerged between the conservatives and modernists. Who among the
given artists are considered conservatives? How about modernists? Why were they categorized as such?
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4. Can you name other Filipino artists who were at the forefront of artistic development in the country? Enumerate
at least five and give a brief description of their artistic achievement.
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LESSON 2: WHAT’S HAPPENING?: A BITE OF VISUAL ARTS HISTORY OF THE COUNTRY
Objectives:
 Answer and articulate inquiries regarding the chronological development of Philippine art
 Appreciate certain local artistic achievements
 Name some local cultural artifacts that have shaped Philippine art history
 Recognize its contemporary re-echoing through other art forms like fashion, painting, and photography
INTRODUCTION:
Do you remember your elementary days when you were asked to wear a costume that represents the Philippines? Have
you worn that kamisa de chino or salakot if you are male? Have you paired your malong with pearl jewelry and anklets?
Perhaps at some point you have done that or may have encountered some cultural events with these familiar items.
Certainly, these are signifiers of our rich historical artistic background. From such examples, we can safely say that
function preceded aesthetics during our precolonial times. In this lesson, we shall take a walk through some of the markers
of our visual art history.
ACTIVITY 1:
Let us see how many local artifacts you can name by completing this short and hypothetical story. Given the choices
below, what do you think are the proper objects to use using only context clues? (Some of the objects may repeat)
STORY:
One day, Maria went to the river bank to fetch some water. Josefina, her mother asked her to use the _________________
so she can have some water as soup for her is cooking. When she came back home to their humble nipa hut, she found her
mother preparing and putting the _________________ over the burning hot charcoal. She gave the water to her mother so
she can pour it on the ________________ together with the vegetables and meat. Maria was sweaty from the trip to the
river so she decided to change her ___________________ and wrap it around her waist. “Oh, this __________________
is just right for me, the length is not too long.” She thanked her sister who brought it for her.
Soon, Ernesto her father came home with his catches from the hunt. He was wearing the __________________ to protect
him from evil spirits in the forest. It is almost nighttime when the youngest in the family, Danilo came home with his
________________ backpack so full of new items of trade. Finally, dinner was ready and everyone ate the hot sinigang
soup that mother prepared.
BANGA PASIKING
TAPIS ANTING-ANTING
PALAYOK
ACTIVITY 2:
Get any type of clay from bookstores or local earth clay. Explore simple pottery techniques using these methods:
a. Pinch pots: form a ball by pressing and molding the clay with your hands. Press your thumb in the middle to make
a hole. The base of the hole should be over a quarter of an inch. Press on the inner walls while rotating the formed
ball. This motion should be repeated and slowly you will create a simple wide-mounted pot.
b. Coiling: pinch some clay and roll it into snake-like coils about hald an inch thick. To form a base, flatten a ball to
your desired size. Carefully wrap the coil above the base. Roll enough coiled clay because you need to use to
form at least a 4-inch high pot. Lay the coils on top of each other forming a cylinder. Using your index finger,
scratch down the sides to join the coils together.
ANALYSIS:
Based on the activity or activities you have performed, evaluate your experience by answering the following questions:
1. What kind of practical functions do you think our first few art forms served?
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2. What do you think were the materials that people in the past sourced from their environment to be able to create
such functional art forms?
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ABSTRACTION:
1. Pre-colonnial Indigenous Art
a. Characterized by use of materials found in the immediate environment, combining functionality with
aesthetics and art forms are usually connected to traditional belief systems and local values.
b. Clay pottery is one of the earliest forms of ancient art which is evidence of artistic skill. The Manunggul jar
of Palawan is a prominent example. Other forms are the Calatagan jar which displays inscriptions on its body
and the Maitum burial jar. The maitum is anthropomorphic, meaning it mimics a human figure with facial
expressions of sadness and joy on its face.
c. Other variations are the palayok which is used for cooling, the banga, tapayan (liquid container), and the
burnay pottery of Ilocos.
d. Wood carving is another prominent art form. Our animistic ancestors, mostly from the Cordilleras, carved the
bul-ul and many variations of it. The bul-ul is bi-functional, both a granary god and an ancestral spirit. The
okir on the other hand is the curvilinear design and motif on wood used by the Maranao and Tausug peoples.
Principal designs are the sarimanok (a colorful kingfisher with mythical reference), the naga (ancient
serpents), and the pako rabing (stylized fern). This is found mostly in the extended floor beams of the
Maranao torogan, which is the Sultan’s house. A variation of this ornamentation can be found in the malong
(cylindrical Maranao skirt) and even in stone grave-markers.
e. Weaving was also predominant as we wre very rich in materials like the buri, rattan, pandan, and bamboo
splits used in making hats and baskets like the pasiking backpack. Local textiles were also weaved finely from
materials like piña and abaca fibers. Textile designs were present in the t’nalak cloth of Mindanao, which is a
decorative tie-dyeing method with motifs like g’mayaw bird with flapping wings, the dancing man as a
symbol to call for rain, and the frog for fertility.
2. Hispanic Influence (1800’s)

a. The main force of art is the church; hence, works were mostly concerned with religious subject matters
b. Notable artworks are (Philippine flora and fauna), and the Letras Y Figuras
c. Filipinos were trained by friars and but they adhered to a more rich palette like red, blue, and yellow
3. American Influence (1900’s)
a. Closing of the Escuela de Pintura, Grabado Y Escultura which paved way for the opening of small
workshops led by artists to train pupils
b. Photoethnography was done by American soldiers to “prove” the uncivilized and primitive people of the
Philippines
c. Forces of art were commissioned, sales, gifts, and opening of new American-based businesses
d. Filipinos started getting involved in international art expositions like Felix Resurreccion Hidalgo
4. Second Republic: 1942 – 1945

a. Japan occupied the country and laid the groundwork for cultural regeneration, dissipating American influence
b. Some artists involved in the movement were conservatives Fernando Amorsolo, his brother Pablo, Guillermo
Tolentino, Dominador and Castañeda, and modernists Victorio Edades, Galo Ocampo, and Hernando Ocampo
c. Art became a vehicle of influence for the Japanese to control the Filipino spirit by restricting their artistic
expression
5. Third Republic: 1946 – 1972

a. Rise of modernism spearheaded mostly by H.R. Ocampo, Victorio Edades, and Napoleon Abueva
b. Art Association of the Philippines was formed along with the Philippine Art Gallery (PAG)
c. Main art movements were realism and neo-realism with media-related conventions like komiks and editorial
cartoons
6. Fourth Republic: 1972 – 1986

a. Marcos era: Marcos monument was created but was later destroyed
b. First Lady Imelda Marcos’ efforts: Cultural Center of the Philippines (CCP), National Arts Center, and
Philippine High School for the Arts among others. The CCP was envisioned as a shrine for high art and the
avante grande
c. Prominent artists were Chabet, Fernando Zobel, Raymundo Albano along with modern artists Manansala who
painted “Madonna of the Slums”; Benedicto Cabrera (Bencab) produced protest and revolutionary art through
his paintings and prints
d. Antipas Delotavo painted with watercolor, a very striking work entitled “Itak sa puso ni Mang Juan”
7. Fifth Republic Onwards: 1986 – Present

a. Contemporary Philippine art
b. Rise of commercial galleries, improvement of institutions, and formation of more art groups and collectives
APPLICATION:
Apply traditional styles, techniques, and motifs and create a Mood Board for a new design that you want for your, i.e.
laptop skin, fashion, textile design, journal or notebook cover, or any surface design. A mood board is a collection and
arrangement of key images and texts to visualize and lay out a concept for a project. Imagine that you are contracting an
artist to create your desired ideas. Use the space or board to put your pegs and inspirations. Write down some
clarifications that you want to communicate to the artist. You may add more boards if needed.
Paste your ideas on the next few

boxes. Write short descriptions
about their part in your designs
Option 1: This color scheme is simple

and subtle. Pattern is similar to the
motifs of northern ethnic groups.
Applis this to the mug design
ASSESSMENT:
Go to your local museum or cultural centers or souvenir shops. If you have no means, go online and have a virtual tour of
the National Museum of the Philippines. Just pick one gallery of your interest regardless of the historical period. Observe
the items on display. Create a list of these items and take photos. Ask some locals about the items or read about the
descriptions. Use these guide questions:
1. When did they start doing this or collecting the items? What were the time period/s if the works are historical
artifacts?
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2. What are the primary materials of the cultural items and/or art forms?
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3. Who and what are the influences of the designs?

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4. Who are their target market if the items are for sale? If for display only, who are the usual visitors and what are
their primary reasons for their visits?
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LESSON 3: WHAT IS THE SHAPE OF PHILIPPINE ART?: FORMS OF OUR ART
Objectives:
 Familiarize yourself with the materials that we have in the country
 Utilize some of the materials into special projects
 Develop concern for our cultural items and even the raw materials they used, and participate in activities that will
help conserve, preserve, and protect our resources
INTRODUCTION:
Have you ever observed that Filipinos are very good at imitation? In the positive sense, when we see or hear something
exceptional, we can later learn how to do that on our own. Take for example our talent in singing. We are often featured in
the international scene. However, we are not just good in singing. Since our adaptation abilities are very strong, we have
imbibed many foreign influences and made them our own.
In the field of Visual Arts, it is not much different. We can look back to one of the greatest Filipino artists of all time who
were in the ranks with world-renowned painters and sculptors. Among them are Juan Luna and Felix Resurreccion
Hidalgo, both of whom represented the Philippines in the international exposition, Exposicion Nacional de Bellas Artes
(National Demonstration of Beautiful Arts) in Madrid, Spain in 1900’s. These artists were first sponsored to study abroad
and later on mastered their new knowledge to a different level of competency. In this lesson, we will look at the other
forms of art that we have been working with and were further developed to showcase world-class Filipino talent.
ACTIVITY:
To introduce us to some of our old traditions in creating art forms, here are some activities you may choose from:
1. Tie Dyeing
Materials: Any white shirt or cloth, rubber band, basin, 2 – 3 plastic cups (depending on the number of colors
you will use), dyes of different colors, hot water, and syringe/medicine dropper
Instructions:
a. Pinch and twist the center of your fabric. Using rubber band, tie the twisted section just behind your hand
b. Continue twisting the cloth while tying it at certain intervals until you reach the end. You should have formed
a long twist of cloth
c. Prepare your dye by putting hot water in a pail or basin and then mixing the dye in it. Test the color on paper
by applying the dye using syringe or medicine dropper. Make sure that you remove the needle from the
syringe
d. For a more effective pattern, dip your cloth in light colors first like yellow or orange. You may dip it half way
or 1/3 and then squirt the rest of the colors onto the other parts of the cloth. Experiment with patterns by
dropping colors in different parts of the cloth. Allow the colors to absorb for 3 – 5 minutes
e. Remove all rubber bands and hang your finished product to dry. Now you have a tie-dyed shirt/cloth
2. Weaving
Materials: Scissors, glue, and construction paper
Instructions:
a. You may want to group 2 colors of papers together before cutting
b. Cut the first colored paper into strips around half an inch wide. Cut along the longer side of the paper. You
may fold the paper into two and then cut from the center
c. Using the next set of colored paper cut into strips, weave them one by one through the papers laid out on the
floor. Use the alternate motion of “over-and-under”
d. Glue into place the first strip and repeat the process until you finish the entire area. Your finished product can
be used as a mat or background decoration
3. Komiks
a. Start by creating a story board with simple drawings. Think of a simple story snippet. It can be a funny
personal encounter, a reaction to current events, or something informative.
b. Create short and simple dialogues. Effective comics should have a punchline or something that the reader can
take away after reading it. Use the boxes below for your illustration. Draw more boxes if needed.
ANALYSIS:
After doing your chosen activity or activities, answer the following questions:
1. Describe your experience with your chosen activity. What did it remind you of in terms of old Philippine art
traditions?
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2. What are the other possibilities of the technique or medium? What else can you create from it?
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3. Can you name some Filipino artists who used such techniques and mediums? How did they innovate the
technique?
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ABSTRACTION:
Forms of local art: The Philippines is very rich in terms of materials and resources. These materials are sometimes
readily available and can be used in its raw forms, but others need to be processed. When these materials are put into use,
many techniques and art approaches are given birth. The following are some of the major forms of Philippine art. Some
have descriptions for us to further identify them.
Graphic Arts – Usually identified with advertising art Assemblage – Characterized by the collection and
because of their flat and graphic style for easy assembly of found objects usually on a flat surface.
reproduction Imagine a collage but with volumetric objects
Bamboo Art Food Art
Basketry Furniture
Book Design Installation and Site-specific Art
Dress Komiks and Editorial Cartoon
Embroidery Leaf Art
Effigies – Protest art in sculptural form made with papier Printmaking – Reproduction of several originals using a
mache which is mostly burned later to symbolize series of printmaking techniques. These are all made by
opposition hand, one by one
Mat Weaving Photography
Metalcraft Pottery
Multimedia Sculpture
Painting and Related Forms Sound Art
Paper Art Tattoo Art
Performance Art Video Art
Personal Ornaments
Philippine Materials:
Clay: earthware, red clay called terra-cota, stoneware, and porcelain
Wood: wood carving used in bul-uls, sundul (grave markers), panolong (house beams), santos (graven images)
Tools: paet (carving tool, hiwas (skew), landay (shallow gauge), lukob (deep gauge), trespico or tatlong kanto (parting
tool), encarnacion or encarnado santos-rendering of flesh tones
Furniture: floral and curving vine designs in Pampanga
Sculpture of toothpick trees, fantasy birds, and fans in Paete, Laguna
Taka or Papier Mache in Paete and creating higantes in Angono, Rizal
Papel de Hapon for the pabalat wrapper tradition of paper cutting in Bulacan
Philippine hardwood: warmth of tone and natural coloration that ranges from dark brown to yellow to reddish hues, as
well as fine grain texture
Retablos by Napoleon Abueva for chapels
Weathered wood: artists like Jerusalino Araos and Rey Paz Contreras used old railroad tracks or stairs and beams of
demolished houses
Bamboo and rattan: Kenneth Cobonpue
Mindanao wood: tail ends of houses
Basketry: buri, rattan, pandan, bamboo splits, ibus, nipa palm, saha (banana pulp), hat making
Food: kiping (rice wafer for the pahiyas decorations); dayap food wood carving in Bulacan
Metal: bronze or brass using ciere perdue or “lost wax method”. Using wax for mold. Spaghetti strips of wax is placed on
outer layer of brass to create the designs. Pukpuk method
Stones and precious stones
Fiber, dues and pigments
Philippine colors and their local names

English Name Filipino Counterpart English Name Filipino Counterpart
Labaga (Ilocano) Pink Kalimbahin
Red Kanaway (Maranao)
Mabaya (Batanes)
Orange Kahel or Dalandan Brown Kayumanggi
Yellow Dilaw, Kunig (Ilocano) Gray Malamaya
Amarilyo
Green Lungti White Puti, Puraw (Ilocano)
Blue Bughaw Ivory Garing
Purple Purpura or Morado Emerald Esmeralda
Violet Lila Black Itim, Dagtum (Cebuano)
APPLICATION:
Incorporate local accessories, colors, and materials into your fashion statement. Do fashion photography and paste your
outputs here. If not possible, draw some ideas for fashion or jewelry design.
LESSON 4: HOW DO I BEHAVE MYSELF IN A GALLERY?
Objectives:
 Learn and apply etiquettes when visiting a museum or a gallery
 Have a good understanding of the functions of some art institutions
 Develop a sensibility to the importance of artworks and artifacts and learn the reason why they are being
preserved
INTRODUCTION:
Sometimes museums and galleries seem intimidating. Their erudite-looking façade can be too imposing that entering it
seem to demand a lot from us. The culture of gallery and museum visits are not very common among us. We would rather
go to malls where our hunger for aesthetics could be relieved. However, we miss the opportunity of having an experience
that will feed both our souls and our hunger for our deepest longings. As we discussed earlier in the beginning of Chapter
1, art is a way of meeting some intrinsic human needs. We are so used to fast and over-the-counter type of aesthetics that
we seldom see the value of stopping and just looking at art – unlocking how deeply it is intertwined with the human
thought.
We have been learning about the language of art and even some of its technical aspects. We have also gone through
specific historical markers in the art scene, which will only be effective if we get first-hand experience of seeing the
artworks and cultural artifacts. These tools can then help us become well-equipped gallery and museum goers. Your next
visit to the museum does not have to be intimidating, but rather hopefully enriching to your human experience and noble
learnings.
ACTIVITY:
These are some common misbehaviors in a gallery. Make a short skit or play a game of charades showing these
misbehaviors:
ANALYSIS:
Sometimes, there are no written guidelines that you can see posted in galleries. Gallery and museum visitors are clueless
as to how they should behave in such spaces. The previous activity may be a little funny to portray, but let us try to
answer the following questions as to why we should not do such things:
1. Why do you think touching a painting is inappropriate? If you have just had a portrait of yours printed on photo
paper with its vibrant colors showing, would it be okay if other people touched it and left their fingerprints? Why?
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2. When visiting a gallery, what do you think are the main points of interest? What would taking selfies or mocking
poses do to the art pieces on display?
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3. Can you liken the environment of a gallery or museum to a theme park? Can you behave the same way when you
go to a theme park and an art institution? Why?
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4. If you do laundry, often you will not hang the brightly colored clothes outside and under the sun for too long.
Hence, when you use flash to take photographs, how do you think it affect the paintings?
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5. Some art pieces are free-standing in a gallery. They are either placed on pedestals or upright on their own. How
can your bulky bags and items and even your food damage such works?
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Sample photo inside an art gallery. Observe how the visitors maintain some distance from the art works
ABSTRACTION:
Museum and Gallery Etiquettes
1. How you dress – It does not always have to be too flashy or formal. Some special events in galleries and
museums like opening receptions may be more special than regular days, hence people would usually dress on
formal attire. However, on a normal day museum or gallery visitors can just dress casually. Wear clothes which
would show respect to such settings.
Some terms used when mounting artwork:

Wall Bound – the artwork is installed on a wall and is applicable mostly, but not limited to two-
dimensional works
Free Standing – has no support underneath because the artwork can stand on its own
On a Pedestal – a neatly furnished rectangular-prism type of wood is used to raise small and medium-
sized sculptures to hip-level point of view
2. Where should you eat – Some museums have cafes – the only areas where you are allowed to eat. In galleries,
eating is only appropriate during openings and cocktails are usually served. However, these are not supposed to be
full meals; they are just light snacks, so eat lightly and in the spaces designated for eating.
3. When taking photos – avoid using flash photography because the light could affect the vibrancy of a painting’s
color. Some paints are light-sensitive and they also naturally fade over time. Do not speed up the fading process
by using the flash when clicking your camera.
4. Selfies and funny poses – In museums, a lot of paintings and artifacts are deeply venerated for their depictions of
some of the most important pains and victories of a country or region. Hence, our behavior should also be
properly coordinated.
5. Talking and jesting – It is definitely okay to talk and discuss some artworks, but if your voice is louder than
normal, then it could distract and disturb other gallery visitors.
6. Touching – Some contemporary art these days are meant to be touched, but most works are NOT. Our fingers
have sweat glands which can affect the chemical properties of a painting or sculpture’s surface. Human sweat can
be acidic and this can have deteriorating effects on a work of art.
Knowing the National Museum of the Philippines

We are blessed to have an established institution that houses some of the most important national and even world-
renowned cultural heritage. These treasures are more than what money can buy because they are records of both history
and human excellence. We will not always have a Luna living in our days, but his art is very much alive on the walls of
our National Museum along with those of other Filipino artists.
What is the Difference Between a Gallery and a Museum?
Some people often interchange these two terms, especially if they are not immersed in a culture of going to art
exhibitions. However, it is very easy to distinguish between a gallery and a museum.
Museums are institutions that display art which can also be considered as national treasures because of its importance to a
place’s history. Hence, a lot of artworks are actually very old and are on display for exhibition’s sake. Yes they can be
bought and they have monetary value but very seldom and only to a selected clientele.
On the other hand, a gallery holds regular exhibitions and is more commercial in nature. They aim to sell artwork to
collectors to earn a profit. Can galleries display non-sellable art? The answer is yes, but only occasionally since they are
privately owned only, hence they base their capital on the sales during their shows.
The National Museum is a public space and is meant to be visited by us, the Filipino people. It was mandated in the year
1998 to acquire, document, preserve, exhibit, and foster scholarly studies and public appreciation of works of art,
specimens, and cultural and historical artifacts representative of our unique cultural heritage and natural history. Here are
some important aspects of the museum that you must know:
o It has nineteen (19) regional branches throughout the archipelago comprising the national network. Check if your
local museum is part of this.
o The museum areas are in a complex: The National Art Gallery was formerly the Legislative building occupied by
the Senate and House of Representatives (lower ground then functioned as National Library); the National
Museum of Anthropology (ole Finance building), and the newly-renovated National Museum of Natural History
(formerly the Department of Tourism building).
National Museum of Fine Arts National Museum of Anthropology
o The architectural design of the buildings are neoclassical style
o Came to reality by virtue of the National Museum Act of 1998
This DNA-type helix structure is right at the center of the Museum of Natural History.
Inside is a scenic elevator that takes you through the entire height and breathtaking view of the building
APPLICATION:
Having learned the setting of museum and gallery culture, let us now try to apply this knowledge through a
firsthand experience. Read and follow the instructions carefully to stage a successful exhibition:
1. This activity is a group work. Divide the class into groups of 4 – 5.
2. Create a mini exhibit exemplifying 3 chosen period in Philippine art history. Choose from the periods in
Lesson 2.
3. Study these periods well and choose at least three artists that best represent the time frame. Do not feature
more than 5 artists.
4. You are going to stage a mock exhibit. Therefore, assign people who will do research on the chosen artists, do
some writings for exhibit notes, layout artist or designer for the exhibition and an exhibit guide.
5. Make sure to have the following paraphernalia:
- Exhibit notes
- Exhibit guide
- Photos with enough details
- Good lighting
- Panels or boards where you can display the photos
- Powerpoint of the exhibition (if you prefer this format)
- Some light snacks for ‘guests’
6. Remember to dress appropriately. Set a time and date when you can have a simple opening. All of the groups
should have their presentations ready on the day of the exhibit. You may invite other teachers to judge your
show.
7. Do an assessment at the end of the exhibit.
ASSESSMENT:
1. What are the points of improvement in your exhibit? Ask your groupmates, other groups and your teacher.
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2. Were you able to communicate effectively the point of your exhibit? What were the difficulties encountered?
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3. Why do you think we should give importance to the preservation of our artistic heritage?
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4. What can you suggest about the issues of mishandling and misrepresentation of some of our fine arts? What
sectors of the government or private organizations can help with proper dissemination of knowledge regarding
this?
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LESSON 5: WHAT NOW?: THE CONTEMPORARY TIMES
Objectives:
 Critique the works of contemporary artists
 Have a more comprehensive understanding of the implication of technological advancement to our art scene
 Develop a broader understanding of the application and connection of art to different areas of knowledge
INTRODUCTION:
What is the pulse of art today?
The “now” is what critics call contemporary, or postmodern, which is the product of artistic sensibilities and attitudes
following the modernist period. If we look at world events against its background, we can take into consideration one very
important achievement: technology. Such was the context of the postmodern era. Critics were at first uncertain of how
they should describe the movements following the modern period, but later on, contemporary art formed its shape and
convinced us that it is an era of its own.
Technology and the rise of the World Wide Web have direct repercussions on the field of visual arts. New media was
explored by artists. Subject matters were more diverse and also echoed the effects of technology. Approaches to art have
become multi-faceted, multi-dimensional, and multi-modal. Since information and communication are now at our
fingertips, the effects of globalization are also evident in our jobs, to the things we consume, to the international
influences on our culture, and also to what we create in the art scene. In short, one key word to describe the arts that is
happening in the “now” is pluralism.
In this chapter we will study some artists who have painted the beat of the postmodern. Let us look at and learn about how
their work depicted the era and how the era influenced their interpretations.
ACTIVITY:
Let us start this topic by conducting a simple debate and discussion of the following agendas. Divide the class into groups
of three to four. Select a topic that each group wants to discuss. The group then will be divided into two: opposition and
government (according to how formal debates are conducted). The group will also decide on any related motion for each
topic. Limit the debate to only 10 minutes per group.
Example: (on displacements of Filipinos) “This house believes that nurses should be compelled to work for two years in
public or private hospitals in the country before going abroad.”
1. Environmental issues
2. War on drugs
3. Displacement of Filipinos
4. Corruption
5. Poverty
6. Dictatorship
7. Activism
8. Cybercrimes
9. Human trafficking
10. Commercialization and capitalism
ANALYSIS:
After immersing yourselves in these topics, answer the following questions:
1. What do you think are the roles of artists in the issues presented?
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2. What are your suggestions for them to become socially relevant or active in the solution and awareness of such
pressing issues?
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3. Why do you think the arts can be an avenue for the discussion and dissemination of these realities in our country?
How can the recipients of artworks be more involved?
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ABSTRACTION:
Precursors of postmodern art in the Philippines can be dated back to the EDSA 1 revolution. During the Aquino
government, many reforms in the once Marcos-controlled institutions like the CCP, National Museum, and Metropolitan
Museum of Manila were implemented. There was a move toward the decentralization of art institutions. The three primary
reform thrusts of the CCP were Filipinization, democratization, decentralization, and artistic excellence. Because of this,
some marginalized artists and art groups during the Marcos regime were given opportunities to display their works to the
public. Filipino masses also had more access to the art collections and grants were given to those who aspired to produce
and exhibit original works from their local areas.
For a long time, art served as an instrument to promote the agendas of individual politicians, curbing the emerging
national identity of Philippine art. Hence, when we finally set ourselves free of the entanglements of such political
powers, many independent artist organizations were formed in the country such as Concerned Artists of the Philippines,
Printmakers Association of the Philippines, Salinpusa, Ugatlahi, and many others.
To give more recognition to artists and folk artists who are important pillars of the society’s notion of patriotism, the
government re-established awarding systems through the National Artist Award, Gawad CCP Para sa Sining, Gawad sa
Manlilikha ng Bayan for Philippine traditional arts, and the revived CCP Thirteen Artists Awards. Private bodies also
developed their own awards systems and have helped in discovering, promoting, and supporting emerging artists of the
whole archipelago. These include the Ateneo Art Awards, Philippine Art Awards of the Philip Morris Group of
Companies, Metrobank’s M.A.D.E. competition, and others.
Let us now study the implications of contemporary issues for some artists whose works echo the issues you have
discussed and debated previously.
1. BanCab – National Artist for Visual Arts – Benedicto Cabrera has works which span a lot of important periods in
our history, especially the postwar period. One of his work series entitled “Sabel” depicts the disorientation that
Filipinos experienced during the postwar period.
2. David Medalla – “The avatar in Europe in performance art,” as described by art critic Leo Benesa. Performance
art is one of the new artistic expressions of the contemporary period where the artist himself is the artwork.
3. Pacita Abad – One of the women artists in the country that has produced a strong voice and identity when it
comes to women’s art. Born in Batanes, her works are characterized by bold and bright colors. She has traveled to
more than 50 countries with works exhibited to more than 200 galleries.
4. Elmer Borlongan – Painter of Filipino nuances which he depicted with much dignity in his masterful works. His
paintings are mostly figurative with subject matters that tackle mostly the daily and mundane activities and
interactions of Filipinos. He is one of the most exceptional in the aspect of painting in our country.
5. Mark Salvatus – Salvatus has created much discourse and narratives in his works on the notions of urbanization,
internet, and technological age, with political, social, and economic grounding. His works are considered
intermedia, combining mark-making, sounds, videos, and found objects in his works.
6. Leeroy New – One of the youngest recipients of Thirteen Artists Awards, Leeroy is an artist of his own, known
mostly for his installation art that are often other-worldly with an alien feel. He pioneered the “Aliens of Manila,”
which are curated photographs of people wearing his creations of bodysuits and headgear.
7. Archie Oclos – He has always been active in the public sphere, painting murals depicting social realities of both
the present and the memories of the past governments. He was recently awarded one of the Thirteen Artists of
CCP.
8. Mars Bugaoan – A young and emerging artist whose works echo the displacement that we often experience
because of the demands of work and globalization. His works have evolved from printmaking to being sit-
responsive, incorporating the landscape of the site into the installation of the art piece.
ASSESSMENT:
The growth of the art scene after modernism has become fast paced, propelled more by the efforts of globalization. Given
the changes that happened after the revolution together with the decentralization, Filipinization, and diversification of
modes and media in the arts, write a short essay about your opinion about these events in our contemporary art scene.
Guide Questions:
1. How was the internet age affected the works of artists?
2. What are the factors taken into consideration in the life of an artist? What do you think are the implications of
these in their lives?
3. What can you say about artist validation systems? Awards and competitions)
4. How has diaspora and displacement affected and modified artistic expressions?
5. How do you think individual art bodies or organizations are shaping our attitudes toward the arts?
Write your essay here:
Chapter 3 PRELUDE: LEARNING TO LISTEN
INTRODUCTION:
We start our journey with Lesson 1, whichopens us to the aural realm, contrasting the concepts of sound and silence;
music and noise. Lesson 2 and 3 deal with the basic elements of music. Lesson 4 talks about the forms and styles in
music, and hose these are related to other fields of art such as painting and architecture. Lesson 5, “The Role of Music,”
lays out the purpose, value, and importance of music in relation to culture, aesthetics, morals, religion, and other fields.
All throughout this chapter, we will be listening to particular samples that will contribute toward appreciating,
understanding, and ultimately cultivating a love for music. There will be discussions of musical concepts and ideas, and
listening will be the main reinforcing factor for our comprehension and enjoyment. There is no better substitute to
appreciating music than directly exposing the ears, our faculties for hearing, to the vast world of sounds and music out
there.
COMPETENCIES:
At the end of this chapter, the student is expected to:
1. Appreciate the aural world, developing a sharper awareness between sound and silence;
2. Be able to develop a subjective feeling/perception/taste between compositions that may be considered as either
music or just plain noise;
3. Identify, understand, and apply the basic elements of music: melody, harmony, rhythm, dynamics, timbre, and
texture; and to use these terms in describing music, as will be done in Chapter 4;
4. Distinguish between different musical forms and styles, and discover how these same forms and styles are also
evident in other fields of art, notably the visual arts;
5. Know the purpose and value of music in society, and how it can help enrich and ennoble our existence as human
beings; and
6. Develop a good taste for music.
LESSON 1: THE AURAL REALM: SOUND, SILENCE, MUSIC, AND NOISE
The inside mechanism of an upright piano – its hitch pins, stromgs, dampers, and hammers
Objectives:
At the end of this lesson, the student is expected to:
1. Experience and differentiate what is sound in relation to music;
2. Enable the student to gain an appreciation for the value of silence;
3. Nurture a critical awareness of which sounds may be considered as music and which sounds may be considered as
noise;
4. Develop an awareness of subjectivity in regard to music culture; and
5. Have the students create and perform a short, simple tune or a simple set of organized rhythmic sounds (either by
clapping, tapping, “tunog-tao”, using sticks or any other material).
INTRODUCTION:
The sense of hearing is one of the most precious gifts God has given to man. However, most of the time we tend to take
this gift for granted. With our busy schedules, we do not have much time to enjoyquiet and solitude, or hear and
appreciate distant sounds from faraway places. People in highly urbanized cities do not usually get the chance to be
awakened by the crowing of a rooster at dawn, but by alarm clocks or their smartphones. In the middle of a lecture,
students’ minds wander off, hearing their teacher’s voice but not really listening attentively. See, listening and hearing
are two different things. Throughout the course of this module, we will be listening a lot, not just hearing music. And that
takes an active effort to pay attention to details, react, and give meaning to what we hear.
This lesson will be the starting point of our music appreciation course. We will be learning about basic concepts such as
sound, silence, music, and noise.
ACTIVITY:
Let us listen to two music clips that we will be played in class.
CD Track 1: [Tone Contagion] https://www.youtube.com/watch?v=pn3XL6VDn6o
CD Track 2: [Baleleng (The Mermaid’s Song), arranged for piano & orchestra – Alejandro COnsolacion]
ANALYSIS:
1. As you listened to Track 1, what did you hear? Describe.
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2. Next, describe what you heard from Track 2.
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3. Compare what you heard between the two tracks. Are there any similarities? What are the differences?
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4. List down 3 – 5 words that you may associate with what you heard from Track 1. The words may be anything:
nouns, names of places, people, adjectives, feelings, abstract ideas, or verbs. There is no wrong answer, as long as
you can explain sensibly/artistically why you chose those words to describe what you heard from the first track.
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5. Following the same idea from number 4, list down 3 – 5 words that you may associate with what you heard from
Track 2. Elaborate why you chose those words.
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ABSTRACTION:
Concepts of the aural realm
SOUND is a wave, a mechanical disturbance in matter that originates from a source and is sent outwards. When two or
more objects collide they form vibrations that are transmitted through the air or other mediums. Hearing is the sense that
perceives sounds. In humans as well as in most animals, the ear is the sense organ that picks up sounds. The ears also
relay the sounds to the brain, which in turn processes these as information. The sounds we hear may be classified as
music, language, noise, or a mixture of all these. The spectrum of sound is wide – the human ear can only hear a certain
range from this spectrum. This is called the audible range. This range depends on two factors: the volume and the pitch
of the sound. Volume refers to the loudness or softness of a sound, and is measured in decibels (dB). Sounds more than
80 to 90 decibels may be dangerous to human ears when exposed for long durations. Pitch refers to how high or low a
particular sound is, and is measured by hertz (Hz). The average hearing range for humans begins at 20 Hz and tops out at
around 20,000 Hz.
Some examples of sounds that cannot be heard by humans include: ultrasound, planetary, and other celestial sounds.
SILENCE is the condition or quality of being quiet. It is basically the absence of audible sound or noise. In music, silence
is also very important – parts where there is an absence of sound are as important and meaningful as the parts where there
is sound.
MUSIC is the art of organizing and putting together an array of sounds into a meaningful, perceptual experience. Music
usually follows certain conventional patterns to convey a message and to express aesthetic, cultural, or artistic purposes.
Music may be classified into various genres such as classical, popular, jazz, folk, and country.
NOISE is any sound that lacks reference to musical quality and is generally considered unpleasant or unbearable to the
human ear.
The sounds and silence heard by using a stethoscope on a patient help the doctors diagnose and treat certain illnesses
Did you know that these is a composition where the performers do not play a single note? They just simply sit and wait
for an assigned amount of time. Silence and the incidental noise (coughing of the audience, yawning, sneezing, etc.) that
happens during that time becomes the focus of the music. This composition is entitled 4’33”, pronounced Four minutes
and thirty seconds by the modern composer John Cage.
ACTIVITY: CRITICAL THINKING

After reading the definitions stated, let us give more careful thought to these concepts and take our understanding of these
concepts one step higher, by pondering and answering these questions:
1. Can silence be considered to be a kind of music? How?
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2. Is it possible that some types of music may be considered as noise? Explain.
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3. Reflect on the saying, “the silence is deafening.” Can silence be considered as a sound? Can silence be considered
as a form of noise?
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4. Listen to Track #3. Can this be considered as music, or as noise? Explain and defend your answer.
CD Track 3: [Tipang Bulag-bulagan – A. Roldan] https://www.youtube.com/watch?v=BDhkR-
RwQfc&list=PLqr6U-aI_TIVauompNzUqalSo_yDv3aA4&index=5
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MUSIC is an abstract form of art, maybe even the most abstract and subjective of all the arts/ Music, in one form or
another, is perceived to have an effect on many living things. As the saying goes, “Music hath charms to soothe the
savage beast.” Music appeals directly to our emotions, and opens up an avenue to the subjective states of man.
There are many different styles and music cultures around the world, and each has its own flavor, merit, and character.
Amidst this diversity, there is one thing common in all music – the universality of its appeal, its power to communicate,
and its usefulness as a means for expression, either individual or as a collective group of persons. Each type of music is
reflective of the unique traits of that particular era, region, or style. To fully appreciate music, we must open both our ears
and our minds, and not be quick to judge what we hear. In this module, each CD track we are going to listen to has an
original story to tell.
APPLICATION:
Group Setup: Let us divide the class into groups of three or four. Create a simple, creative, and unique composition,
highlighting both sound and silence using simple materials found within the classroom (pencils, ball pens, sticks, etc.) or
by using body parts. The composition need not have a melody or lyrics; it may be simple rhythmic sounds. Be ready to
perform the composition in front of the class. Record the composition if possible. Afterwards, listen to constructive
criticisms from the class.
ASSESSMENT:
Let us answer the following questions:
1. What is audible range?
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2. In what units of measurement is pitch measured? How about volume?
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3. Research the term “white noise”. Define and explain.
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4. Research the term “music of the spheres”. Define and explain.
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LESSON 2: HEAR ME OUT! OF VOICES AND HARMONIES
Objectives:
1. Learn the concepts behind the music elements of melody, harmony, and dynamics, both theoretically and in
practical applications;
2. Be able to listen attentively and critically to differences in pitches, whether they rise, fall, or stay the same, or
move in steps or leaps. Afterwards, students are to plot a graph on the contour of pitches/melodies heard;
3. Recreate pitches and sing them using so-fa syllables, either individual or as a group, to create certain simple
harmonies and intervals;
4. Determine phrases inside melodies, and discover how these are related to other art areas such as literature and
speech;
5. Learn the different textures in music; and
6. Simulate different sounds representing different dynamics, from soft to loud.
INTRODUCTION:
We shall begin our lesson with three basic elements of music: melody, harmony, and dynamics. We are not merely going
to know their definitions, but we will be experiencing and applying each of these elements through different activities.
Our individual lives may be likened to single melodies, both with its ups and downs. These in turn, are also subject to
different dynamics; with its loud, busy parts and almost silent relaxing times. How we interact with other lives, conflicting
or complementary, may be likened to harmony.
ACTIVITY: LISTENING
Let us listen to a sample piece of music. [Track #4: Pen-pen de Sarapen] https://www.youtube.com/watch?
v=B4cO4OYt5Y8&list=PLqr6U-aI_TIVauompNzUqalSo_yDv3aA4&index=6&frags=wn
ANALYSIS:
After listening to the track above, let us answer the following questions:
1. Describe the melody of “Pen pen de Sarapen”. Listen to the intervals between the pitches. Does it generally move
in steps or in leaps? Draw a line graph of its shape.
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2. Listen to the harmony (combination of sounds) in the piece. Does it sound pleasing or does it irritate you? How
does it make you feel?
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3. Take note of the range of the melody. Is it narrow or wide?
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4. Does the music change from soft to loud (dynamics) or does it remain the same all throughout?
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5. What personal experience from your childhood can you associate with this song?
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ABSTRACTION:
Great melodies create good memories
What is melody? The melody is an aspect of music which is probably the first and foremost thing that we remember when
we listen to a song, or instrumental pieces. The melody leaves a lasting impression in the minds of listeners. For example,
when we try to recreate a song, especially one that we hear on the radio, we sing the most familiar part/s of it – where the
melody is “catchy”. This is usually found in the chorus or refrain rather than in the verses, though some songs may also
have remarkable melodies found in the verses. We usually sing, hum, or whistle to a melody that appeals to us. We also
can decide whether a melody is good, mediocre, or plain trash. Why is it that we can follow a melody? It is because of its
very nature. It is because of this nature that musicians usually refer to melody as a “line”.
A melody is a group of pitches used in a coherent pattern or succession. Thousands, if not millions, of melodies have been
composed all throughout the world’s music cultures, and it is in these melodies that human sentiments have been appealed
to most directly. Each melody has different characteristics; some may be happy and cheerful, others somber and
melancholic, some convict and bring our souls closer to God, while others melodies can instill and spark great acts of
courage.
What constitutes a melody? Let us now look closely. A melody is made up of pitches. Some parts of a melody are high,
while some are low. Some may also be on the middle register. A pitch is the quality of the highness or lowness of a
sound. Pitch is very important in music. If sound did not have the quality of pitch, then we would have no distinct tunes or
melodies in our songs, for all would sound like a monotonous drone. Take not that even noise has pitch! For example: the
barking of dogs, the drilling of jackhammers, or an alarm clock going off all have pitches, but they are indefinite. This is
one reason why these sounds are not normally used as musical material. However, some instruments such as cymbals and
the tambourine have no definite pitch, which is why these do not usually carry a melodic line in music.
The distance between two pitches in music is called an interval. Intervals may be small, as in steps, or may be big, as in
leaps.
ACTIVITY: LISTENING
Let us listen to sample music [Track#5: Intervals]
As we listen to the intervals between pitches in a particular melody, we also get an idea about its general shape and
range. A melody’s shape is determined by the intervals used, whether it is in steps, skips, or huge leaps. We can draw a
line graph of a melody’s shape to see how it moves. The range, also called compass, is basically the distance between the
highest pitch to the lowest pitch used within the melody. The range may be wide or narrow.
Lastly, melodies also have a structure – they are not just randomly jumbled notes, they should make some sort of musical
sense. Good melodies have a sense of form. In the study of grammar and literature, sentences may be broken down into
smaller phrases. The same is true for melodies, most notably when there are lyrics or words accompanying it, as in songs.
Musical phrases usually coincide with the poetry used in songs. This means that the rhyme, punctuation marks, and even
the enjambment (placement of words) in a poem affect the construction and constitution of phrases within melodies.
Can you identify the phrases in this rhythm, “Go tell it on the mountain”?
There are some passages in music that are quite remarkable, people tend to remember these even though these passages
are short, and may even be shorter than a musical phrase. These small fragments may consist of just two, three, or four
notes – but are easily recognized and remembered by the ear. These fragments are what we refer to as motives. A good
example is the popular motive from Beethoven’s Fifth Symphony. It sounds like this: “ta da da daaaaaa…”
The famous “ta da da daaaaaa” motive in Beethoven’s 5th Symphony.
ACTIVITY: LISTENING
Let us listen to sample music: [Track#6: fragment from Beethoven’s Symphony No. 5 in C minor, op.67]
The short ringtones we hear from our mobile phones may also be considered as examples of motives.
Harmony: Am I in tune or out of tune?

Many of us love to sing. It is a great way to express ourselves, whether it be a cappella rendition of a hymn at church or a
pop song we sing while we take a bath. However, singing alone is not as enjoyable as singing with others, or with
accompanying instruments or a background recording. The latter experience has depth, rather than singing just one line.
This is where harmony comes in. In the visual arts, such as painting, there is this concept of perspective. Harmony works
the same in music. It gives music depth and space. Though we cannot see it, sound has dimension. It has length, height,
and depth. In harmony, we can hear and perceive clearly how music utilizes both aspects of space and time.
Some of you may be familiar with playing an instrument. Some may also be familiar with chords. Melodies may be
harmonized in many different ways by using different chords, structures, and progressions.
Harmony is that event in which two or more pitches, or notes, sound simultaneously. Of course, not all pitch
combinations may sound pleasing or “harmonious” to the ears; hence, we have the concept of consonance and
dissonance. Roughly speaking, consonance is when two or more notes are at rest or resolved with each other; while
dissonance is when two or more pitches sound tense or unresolved when heard together. Dissonance may also be referred
to as discord. A good example of discord is when someone sings karaoke or videoke out of tune. In the listening activity
below, we will hear various consonances and dissonances. These will all depend on the intervals used, and the
combination of chords or notes used. We will hear some examples:
ACTIVITY: LISTENING
Let us listen to sample music: [Track#7: Consonant & Dissonant Tones]
ANALYSIS:
Based on what we heard, which sounds are consonant (sound pleasing)? Which are dissonant (Clash)?
Chords: Major – major or major – minor?

Now that we are familiar with the concept of consonance and dissonance, let us talk about chords. A chord is a device in
harmony where two or three pitches are sounded together. Chords are not chosen randomly, they are derived from a scale.
A scale is a set of pitches arranged in a particular sequence, and may either run going up (ascending) or going down
(descending).
Chords, as notated in sheet music, from Sergei Rachmaninov’s Piano Prelude in C# minor.
Chords are notes stacked vertically on top of the other, and may be made up of 3 or more notes.
In Western music, scales use sol-fa syllables, which are namely: do-re-mi-fa-sol-la-ti-do.
Therefore, if we review our intervals:
do-do = unison (1-1) (same note)
do-re = second (1-2)
do-mi = third (1-3)
do-fa = fourth (1-4)
do-sol = fifth (1-5)
do-la = sixth (1-6)
do-ti = seventh (1-7)
do-do = eighth (1-8) or more commonly called an octave
Here, we can see that melody is the horizontal aspect of music, while the vertical aspect (combination of tones such as
chords) is the harmony.
The triad is a type of chord which is made up of three tones, stacked one on top of the other. The triad is the most
common and basic type of chord employed in the everyday music we hear. Let us look at two of the most common types
of triad used in music: the major and the minor triad, or simply the major and minor chords.
ACTIVITY: LISTENING
Let us listen to some sample chords and scales. [Track#8: Major Chords & Scales] & [Track#8: Minor Chords & Scales]
ANALYSIS:
Listening to both Tracks 8 and 9, which type of triad or chord sounds “happy”? Which chords sound “sad”? Are you able
to tell the difference between the quality of a major and a minor chord? A major scale and a minor scale?
ACTIVITY: LISTENING
Let us listen to some sample music. [Track#10: Chord Combinations].
Sound waves and Sound weaves: Texture

Texture in music refers to the various layers of melodic lines and sounds happening simultaneously in a composition.
Monophony, the most basic texture, is a single unaccompanied melody. An example is when someone sings a tune a
cappella. Polyphony is the type of texture when two or more tunes/melodies are played or sung together at the same time.
The term contrapuntal, derived from the word counterpoint (the organized study of composing and combining melodies
together), is sometimes used interchangeably with polyphony. An example of polyphonic music is the round song, “Row,
row, row your boat”, sung imitatively in differing time intervals. The last type of texture is homophony, wherein a
melody is accompanied and harmonized simultaneously by chords. Here, the melody is of primary interest while the
accompanying chords are subordinate to the melody. A lot of popular songs and church hymns have this type of texture.
You see, music can be compared to textiles or clothing, they may be made up of different threads (melodies) woven to
each other, forming its texture.
ACTIVITY: LISTENING
Let us listen to some sample music. [Track#11: Musical Texture Samples]
Dynamics: From whispers to explosions

When listening to music, do we prefer hearing the music from a radio/stereo or do we use headphones/earphones? Both
experiences are different, and I guess one can hear more details when using earphones as opposed to hearing music from a
car stereo. Do you love loud, upbeat or do you prefer mellow, relaxing tunes?
In this section, we shall look at dynamics, which is the property of music that deals with its loudness or softness
(volume). In music, Italian terms are used to label variations in the loudness or softness of a sound. These terms are
written on the score or piece – the physical written/printed form of music.
pianississimo (ppp) very very soft

pianissimo (pp) very soft
piano (p) soft
mezzo piano (mp) moderately soft
mezzo forte (mf) moderately loud
forte (f) loud
fortissimo (ff) very loud
fortississimo (fff) very very loud
crescendo (cresc.) gradually getting louder
decrescendo (decresc.) gradually getting softer
subito (suddenly), as in:

subito forte suddenly loud
subito piano suddenly soft
sforzando (sfz) sudden, strong emphasis
The aforementioned dynamic terms reveal one thing common between human beings and music: they both express
feelings and emotions. In a conversation, a person’s tone and volume of voice may get softer or louder, more endearing or
angry, depending on the situation or feelings expressed. The same is true for music, it is a living, communicative art form.
All of these terms are used by the composer/songwriter as expressive tools within their compositions. Performers and
conductors have the responsibility to follow and interpret these markings as faithfully as possible during the music-
making process.
APPLICATION ASSESSMENT:
Choose one from the activities:
1. Compose a short motive about something – it may be about a place, a thing, an idea, a pet, etc. Instruments or
electronic devices may be used, as necessary. Have it performed in class and be ready to give a short explanation
or background about it.
2. Let us divide the class into groups. Think of a familiar tune or song that you can sing. Each group will nominate a
fellow classmate as the conductor to direct whether the group should sing louder or softer. Note to Conductor:
You need not beat the time. Just use simple signals to denote changes in dynamics for your group to follow. Use
both gradual changes in dynamics (example: piano to mezzo piano) and sudden changes (example: pianissimo to
forte).
LESSON 3: HEARING YOUR HEARTBEAT MAKES ME BLUSH: RHYTHM AND TIMBRE
Objectives:
1. Learn and understand the concepts behind the musical elements rhythm and timbre
2. Recreate sounds using systematic rhythmic patterns
3. Familiarize one’s self with musical terms related to rhythm
4. Appreciate the different sounds different musical instruments are able to produce and to be able to develop a
creative, discerning taste of which timbre would best fit particular parameters when composing
INTRODUCTION:
In this lesson, we are going to learn about the last two fundamental elements of music – rhythm and timbre, which are
equally as important as the first three we have studied.
ACTIVITY: LISTENING
Listen to sample music: [Track#12: Piano Piece in Eb – A. Roldan]
ANALYSIS:
1. Based on what you heard, give descriptions about the speed and mood of the piece using your own words.
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2. Explain why you chose those words in class.

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3. If this piece were to be background music for a film, what would be the scene that comes to your mind?
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4. If this piece were to be used as background for a TV advertisement, what product would it be used for? Why
would it be effective?
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ABSTRACTION:
Can you feel my heart beating? I’ve got rhythm
Music would be meaningless without rhythm. Literally, our lives would stop if our hearts stopped beating… figuratively;
we would be lifeless if there was no one who made our hearts beat… I know, that sounds cheesy. The same can be said
for music.
Rhythm generally refers to the aspect of time in music. It determines how long or how short a pitch will sound, the
employment of time patterns, the length of silences in between notes, and also covers the speed of the music. Rhythm in
music gives direction and character to each piece, as we will see later.
Can time in music be measured? Definitely. In music, we use beats or counts to measure musical time. Conductors use
hand gestures or their baton to wave and count the time when directing an orchestra, choir, or band. Some rock stars do
“head banging” motions to give a sharper sense of rhythm to their music. Every day, we see people tapping their feet or
their hands onto something as they listen to music. Let us take a more mundane example. Every time we look at our
clocks and watches, beats actually happen as we observe the “second” hand tick away. However, in music, there are times
where some beats are stronger than others. Imagine if you were a drummer in a band. Would you strike your drum set
with the same speed or the same intensity al throughout? Of course not. This is where accents come in. Some beats are
strong, while some are weak.
A meter is a repeating pattern of strong and weak beats. In music, there are two common types of simple meter used:
duple and triple meter. In musical notation, meter is represented within measures or bars. The meter tells us how many
beats are there in a single measure.
Duple meter – type of meter where beats are grouped in twos. The best example of this is a march, reflecting the
movement of our two feet. Hence:
ONE TWO ONE TWO ONE TWO; OR left right left right
1 2 1 2 1 2
(one is the strong beat, two is the weak beat)
Or
ONE TWO THREE FOUR, ONE TWO THREE FOUR

1 2 3 4 1 2 3 4
(one and three are the strong beats, while two and four are weak beats. Note: Beat one is slightly stronger
than beat three, even if both of them are considered strong beats)
Triple meter – type of meter where beats are grouped in threes. An example of song that uses this meter is
“Bahay Kubo”
ONE TWO THREE, ONE TWO THREE

1 2 3 1 2 3
(one is the strong beat, while two and three are both weak beats)
In music, meter is not always realized too strictly, or else it would sound too “square”, as if it was manipulated by a robot.
MIDI files would sound like this. In reality, rhythm and meter are organic, such as reflected in the natural way we do
things, such as walking, breathing, or even the beating of our hearts. We can appreciate rhythm and meter even in non-
musical experiences such as the falling of raindrops or the chirping of birds, or even when observing how some many-
legged insects crawl.
One concept of classical music is the rubato, which literally means “robbed time”. When doing a rubato, musicians
stretch the rhythm of the music, the meter wavers, and it becomes elastic. Time is being “stolen” from the beats when the
speed increases – but later on will be “given back” by slowing down somewhere to achieve balance. It is like improvising
rhythmically, thus giving more emphasis and stress to some beats than others.
Shifting gears – The fast lane and the slow
If meter tells us how many beats or counts there are in a measure, then tempo on the other hand let us know how quickly
or slowly these beats happen. Tempo dictates the pace of music, and it sets the mood and gives character to the piece.
Tempo markings are written in Italian, for Italian music had dominated the cultural life of the European continent from
around the late 1500’s to the mid-1700’s. The word tempo means “time” in Italian. Let us look at some of these markings:
Grave very slow and solemn
Largo broad and dignified
Larghetto a little less slow than Largo
Largamente in a broad, slow manner
Adagio slow; relaxed
Andante at a walking pace
Andantino slightly faster than Andante
Moderato moderately
Con moto with movement
Allegretto a little lively
Allegro happy, quick
Vivace lively, with life, quickly
Presto very fast
Presstissimo very very fast
Presto Possible as fast as possible
Other terms used in conjunction with abovementioned terms:

poco a little
poco a poco little by little
accelerando gradually getting faster
ritardando; rallentando gradually getting slower
molto much
piu more
meno less
non troppo not too much
assai very
a tempo back to original tempo, in time
marcato markedly with emphasis
semplice simply
lunga long, held pause
tempo primo return to the original, initial speed of the piece
Along with these, mood or character markings are also sometimes used together with tempo markings. Just like in
dynamics, these try to convey human feelings and emotions. Here are some examples:
Affettuoso with emotion
Agitato agitated
Animato animated, with life
Con calore with warmth
Con fuoco with fire
Cantabile in a singing manner
Doloroso with pain and sadness
Dolce sweetly
Espressivo expressively
Giocoso with humor
Grazioso gracefully
Leggiero lightly
Morendo in a dying manner
Scherzando jokingly
Tranquillo calmly
In classical or art music, these Italian terms are still widely used today. However, in more recent times, composers have
been using the language of their origin (English, French, German, and Filipino) to indicate expressive markings in their
music. In jazz music, English is most widely used.
Musical Watercolors
Simply put, tone color or timbre is the quality of the notes we hear in music, dependent on the instruments, voices, and the
method of how these instruments and voices are played/manipulated. We use imprecise adjectives to describe each tone
color that we hear, but normally people can easily differentiate what the sound of a trumpet is from that of a guitar. The
most distinct tone color is that of the human voice, which is what most other instruments try to imitate. There is such a
wide array of musical timbres available for the human ear to listen and appreciate, especially since in modern times much
composed music is created, manipulated, and synthesized using electronic media, computers, and advanced composition
software.
ACTIVITY: LISTENING
Let us listen to sample music [Track#13: Different Musical Timbres].

1. Let us listen to a CD track [Morse Code Signals]. Each Morse code signal represents a letter of the alphabet, and
were for a time extensively used for communication transmissions, especially in navigation and military
operations. Note the variances between the short sounds and the long sounds used.
Research on the Morse code alphabet. An app for Morse code is available for smartphones. Let us divide the class
in two opposing groups. One group will clap out Morse code signals that the other team should decode. You may
use a combination of letters, but not exceeding three (3) letters. The first team to reach 5 correct decoded signals
within a time limit is the winner.
2. Suppose that you are a composer, commissioned by a gaming company to write background music for characters
of an online video game. Choose one instrument/group of instruments that will most likely suit the character and
explain/discuss with the class why you chose this, in relations to its tone color. Describe the similarities between
the character and your chosen instrument’s tone color.
A. CHARACTER: TROLL
Choose from: a. Violin b. Flute c. Harmonica d. Timpani
B. CHARACTER: KNIGHT
Choose from: a. Bass Guitar b. String Orchestra c. Saxophone
C. CHARACTER: DRAGON
Choose from: a. Gamelan b. Full Orchestra c. Drum Set
D. CHARACTER: MERMAID
Choose from: a. Flute b. Voice c. Gamelan d. Piano
E. CHARACTER: IMPERIAL GUARD

Choose from: a. Brass Band b. Electric Guitar c. Trumpets
F. CHARACTER: GOLEM
Choose from: a. All Male Choir b. Full Orchestra c. Drum Set
G. CHARACTER: DWARF
Choose from: a. Marimba b. Bassoon c. Cello
LESSON 4: FUNCTIONALITY OR FASHION?: FORMS AND STYLE
Objectives:
1. Understand the meaning and function of form in relation to music
2. Appreciate the similarities in the use of form and structure in music and the other arts
3. Distinguish between binary and ternary form when listening to music
4. Be acquainted with the different styles and genres of music, and its subgenres
INTRODUCTION:
When we look at creation, we can see God’s handiwork – truly a masterpiece. It is said that we, human beings are God’s
masterpiece. If we observe closely, almost all of creation – whether it may be celestial bodies, plants, animals, and other
living things – have something in common. Nature dictates that there be balance and symmetry in everything. The same
can be said in music. Music, being an organized set of sounds and silence, follows the same tenets of beauty and
aesthetics. Most works of art are inspired by creation or what happens in these works of creation. Music and the other arts
simply try to manifest it in an abstract way. There is similarity, variety, symmetry, and asymmetry.
Simply put, the ideas of form and style are almost always present in music, and these two factors make each composition
and genre distinct from one another.
ACTIVITY: BRAINSTORMING/ELICITING RESPONSES

Here is a sample list of some styles of music. Use your own words about ideas/people/things/places/events that you
associate with each style given.
1. Classical Music –
2. Popular Music –
3. Country Music –
4. Electronic Music –
5. Jazz –
6. Ethnic Music –
7. Hip Hop –
8. Musical Theatre –
9. Rhythm and Blues –
ANALYSIS:
Compare and contrast at least two of the given musical styles below as discussed in class, giving the distinct
features/flavor of each compared style that you chose.
ABSTRACTION:
Factory Settings: Forms in Music
What do we observe from creation? We can see that an intelligent Being used conscious choices and a rational, logical,
sense of arrangement – not random chance. That is what we refer to as form – a vague word, very general and broad in
meaning but very essential if we are to appreciate and understand the arts more fully.
Form is a musical work’s shape, structure, and the organized arrangement of its elements – and how these elements are
manipulated so that the work makes sense. For hundreds of years, composers have been creating music – even large scale
works such as concertos, symphonic poems, and operas. These types of music require a long duration to perform and may
be tiring for the listener. Composers use forms to hold the listener’s interest – for ten minutes, half an hour, or even for a
full three hours.
Form is widely employed in all the other arts, in poetry, literature, sculpture, and architecture.
There is a duality in how musical elements are utilized. What are these? These are by repetition and contrast. Let us take
a hymn or a song’s lyrics as an example. There are verses, and these are usually different from one another. But the
chorus/refrain of a song is usually always going to be the same, and is most likely to be repeated more than once.
Letters are conventionally used to label repetitions and contrasts. For example, if a form is labelled A B A, then A
signifies the repetition while B signifies the element of contrast.
TWO AND THREE PART FORMS

Two part (Binary) and three part (Ternary) forms are most commonly used in Western music.
Binary Form – a type of musical form with two contrasting parts (“A” part and “B” part)
Sample Illustration:
A B
Ternary Form – a type of musical form with three parts. The first part, “A” is repeated after the second part, “B”.
This makes this form symmetrical.
Sample Illustration:
A B A
ACTIVITY: BINARY FORMS

Listen to sample music. [Track#15: Yankee Doodle]. Listen closely, this song is in binary form (A-B).
ACTIVITY: TERNARY FORMS

Let us listen to sample music [Track#16: “Sa Libis ng Nayon” by Santiago S. Suarez] – This is an instrumental rendition
of a Philippine art song. It is in ternary form (A-B-A)
Style: Variety in Artistic Expression

Style, just like form, is another of those vague and general terms we use. In martial arts, there are various types of fighting
styles – kali, krav maga, or jiu jitsu. We as human beings have different lifestyles – and no one leads his/her lifestyle
exactly as another does. What is style? In music, it is the combination of characteristics and attributes that make it unique.
Geography, history, belief systems, values, tradition, lifestyles, and culture all play important factors that shape different
musical styles.

Imagine you were a film-scorer. You are commissioned to create background music for a particular film. Find a story
book/novel that has not yet been adapted to film. Use the style/genre of music you want to create its background and
explain in class why you chose it. What form would you use? Ternary or Binary? Present and discuss in class.
LESSON 5: NO MUSIC, NO LIFE!: ITS VALUE AND ROLES IN SOCIETY
Objectives:
1. Identify the different roles and purposes of music in society
2. Appreciate the wide applications of music in everyday life
3. Realize and understand the specific relationship that music has with other areas of life
INTRODUCTION:
Can you imagine a world without music? What kind of world would that be? A world where no one whistles a tune, or
hums a merry melody… how dull and monotonous would that be. One well-known notion about music is that it is a
universal language, for it appeals and speaks personally to our feelings and emotions. Music is also a creative process,
especially art music, for it demands a certain degree of musical proficiency, physical dexterity, and a valid interpretation
of one’s own individual truths. It is an avenue for self-expression, able to convey thoughts and ideals in ways that mere
words cannot describe. If you believe in heaven, and you are a musician, then you are in luck. There is no need for
lawyers, bankers, doctors, or engineers in heaven. No manual labor is needed. But musicians will still be needed – to
continually sing, praise, and worship God with heavenly music.
ACTIVITY: GETTING TO KNOW YOU BETTER

Find a partner and form pairs in class. Answer the following questions below together with your partner. Afterwards,
share in class what your partner’s answers are.
ANALYSIS:
Ask your partner these questions for the abovementioned activity:
1. Do you like music?
2. Do you sing or play a musical instrument? Are you part of any musical group?
3. What is your favorite musical style/genre?
4. How do you use music in everyday situations?
5. How do you perceive musicians in general?
6. Give an instance in your life where music has greatly helped or affected you.
7. How can the music that you listen to or perform define you as a person?
ABSTRACTION:
The Roles of Music
Let us now look and study closely what are the specific roles or purposes of music in human society.
I. As an art form:
1. As a medium for self-expression
2. A vehicle for the transmission (either oral or written) of cultural, artistic heritage
3. A tool for preservation of a nation’s identity
4. Used as entertainment: touches human emotions and ennobles the human spirit
5. A way of learning about the traditions, values, attitudes, performing styles, beliefs, sensibilities and culture of a
particular people, place, or period in history
6. Showcases the human race’s talent and artistic capability
II. In Politics:
1. Used to influence people, their mindsets, and their attitudes toward the government
(example: protest songs, songs calling for unity)
2. Used in political campaigns/advertisements
3. Instill a sense of patriotism and nationalism
III. In Business/Commerce:
1. Used with product advertisement both in mass media (TV, radio, newspaper) or in social media
2. To create a specific atmosphere/ambiance in a business location (ex. hotels)
3. Background music (BGM) for video gaming industry
4. Background music for both television and movie films
IV. Spirituality:
1. Used in rituals/ceremonies of tribes or other ethnic groups
2. Integral part of religious services
3. Medium for worshipping God
V. In Healing:
Music therapy – the use of music in conjunction with either medical or naturopathic treatment of bodily ailments
VI. Aide in Cognition:

Music is known to help enhance the learning performance of students by actively using skills such as critical
thinking, decision making, discipline, and refining motor movements. Music is easily relatable to other art forms such as
painting, sculpture, poetry, and literature, but can also be related to other subjects such as mathematics, geometry, and
values formation.
Besides these, there are other purposes of music such as in lullabies for putting children to sleep, in courtship songs for
wooing a beloved, or motivating one’s self while exercising or working out in a gym.
Can you think of other ways or instances where music actively or passively plays a role?

Choose a specific purpose or role of music. Research and write a reaction paper about this particular role. You may cite
personal experiences as well, if applicable.
Chapter 4 EXPOSITIONS: A JOURNEY THROUGH MUSICAL TIME
INTRODUCTION:
In this chapter, we will study music through a historical approach, surveying and sampling the styles from different eras –
from the medieval ages up to modern times. A section about our own native Filipino music is also included. This is not an
extensive study on the traditions, norms, and developments of each musical era but a mere “tasting” from a small part of
the repertoire available. Knowledge and understanding of the elements of music, discussed in the previous chapter, will
help us as we listen and analyze music tracks, and will also help us to be much more informed listeners; able to describe
and say something about what we hear using correct musical terms – thus making us more musically “literate” human
beings.
COMPETENCIES:
At the end of this chapter, the student is expected to:
1. Listen attentively to discrete musical details within each listening selection;
2. Analyze the listening selections and use their knowledge and vocabulary from music elements (melody, harmony,
rhythm, etc.) to critique these;
3. Relate how the historical/cultural context of a particular era affects and shapes the musical compositions of that
period;
4. Develop even a small degree of discernment about the differences in style between musical eras;
5. Take pride in his/her own Filipino music culture: at the same time appreciating and respecting other musical
cultures, perspectives, and styles; and
6. Relate and integrate music to other fields of art through creative application procedures.
LESSON 1: PEASANTS, PRINCES, AND PALADINS: MEDIEVAL MUSIC

Objectives:
1. Gain a basic knowledge and appreciation of the musical atmosphere, style, traditions, and historical context of the
medieval ages
2. Listen and analyze the music selections given using specific guide questions
3. Create a different artwork in relation to the music selections listened to, either individually or as a group
INTRODUCTION:
The Middle Ages sometimes called the “Dark Ages” or the “medieval period”, is a period in European history which
encompasses nearly a thousand years. There are no definite dates as to when it started and when it ended, but the
approximate dates are from 500A.D. to 1500A.D. It was an age of anxiety, corruption, and uncertainty. The Roman
Empire has just collapsed, and invasions from Germanic tribes, Magyars, Vikings, and Saracens were a regular
occurrence. The Bubonic Plague (also known as the Black Death), caused a decline in the population and de-urbanization
of cities. In spite of these, there were still technological and cultural developments throughout the European continent.
People turned to God and to the church for guidance and enlightenment. The intertwining of both faith and reason gave
rise to scholasticism, and also the establishment of the first universities. Feudalism was institutionalized in society. It was
a time of the nobility, of knights, chivalry, crusades, and exploration.
ACTIVITY:
I. Eliciting Response – Using your own words, write on the board what comes to your mind when you hear the phrase
“the dark ages”
II. Listening
1. Let us listen to sample music [Track#17: Dies Irae – 13th Century Latin Catholic hymn]
2. Let us listen to sample music [Track#18: Douce dame Jolie – Guillaume de Machaut, 14th Century]
A. Dies Irae “Day of Wrath” Lyrics

1. Dies irae dies illa
Solvet saeclum in favilla,
Teste David cum Sibylla.
2. Quantus tremor est futurus,

Quando Judex est venturus,
Cuncta stricte discussurus!
3. Tuba mirum spargens sonum,

Per sepulchral regionum,
Coget omnes ante thronum.
Translation:
1. The day of wrath, that day

Will dissolve the world in ashes,
David being witness along with the Sibyl.
2. How great will be the quaking,

When the Judge is about to come,
Strictly investigating all things.
3. The trumpet, scattering a wondrous sound

Through the sepulchers of the regions,
Will summon all before the throne.
B. “Douce dame Jolie” – Guillaume de Machaut

Douce dame jolie, Sweet lovely lady
Pour dieu ne penses mie for God’s sake do not think
Que nulle ait signorie that any has sovereignty
Seur moy fors vous seulement over my heart, but you alone
Qu’ades sans tricherie For always, without treachery
Chierie Cherished
Vous ay et humblement Have I you, and humility
Tous les jours de ma vie All the days of my life
Servie Served
Sans villain pensement. Without base thought
Helas! Et je mendie Alas, I am left begging
D’esperance et d’aie; For hope and relief;
Don’t ma joie est fenie, For my joy is at its end,
Se pite ne vous en prent. Without your compassion.
Douce dame jolie… Sweet lovely lady…
ANALYSIS:
Let us answer the following questions and discuss with the class.
A. Dies Irae – 14th Century Latin Catholic Hymn
1. Are there patterns in the lyrics? How many voices are there? Are there male/female voices?
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
2. How does the music make you feel? Why do you think is music used extensively in church services?
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
3. Describe the melody – does it move mostly in steps or in skips?

________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
4. Describe the rhythm – it is in a fast or slow tempo? Which tempo marking would best fit it: grave, moderato,
or allegro?
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
B. “Douce dame Jolie” – Guillaume de Machaut

1. Why do you think the composer wrote this piece?
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
2. How does the music make you feel?

________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
3. How would the music change if drums were used in the background?
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
4. What personal experience from your life does it make you think of?
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
5. Describe the dynamics – does it change from soft to loud or does it remain the same?
________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
ABSTRACTION:
Medieval Music
The Christian Church shaped the early history of Western music. The Church supported and enriched music, art,
architecture, and other fields of learning. Both composers and musicians got their training from the church. However,
there were also secular musicians – called minstrels, jongleurs, troubadors and trouveres. These were itinerant poet-
musicians travelling from place to place, composing and performing their own songs about chivalry, crusaders’ songs,
unrequited love, and laments for dead heroes. They were the pop music idols of their day.
Basically, we have to remember that there were two (2) sides of musical performance during this era: sacred and secular.
A troubadour playing a lute. Troubadors, minstrels, and trouveres played secular music.
Plainchant
Gregorian chant or plainsong is the vast collection of melodies designed for religious texts used by the church for its
services. It is called “Gregorian” after Pope Gregory I (circa 504-604A.D.). This label is quite misleading, for he did not
compose a majority of these chants; he just organized and standardized these. These chants were used extensively for
services, masses, and other ceremonies which happened almost on a daily basis.
Plainchant generally has two distinctive features:

1. They have no established meter – the rhythm is free
2. It uses what we call church modes, derived from ancient Greek music. These are not your usual major-minor
scales. Here are some of them: the Dorian, Phrygian, Lydian, Mixolydian, and Locrian. Each one of them has
their distinct flavor.
Musical Instruments
Some of our modern day musical instruments may be traced from the Middle Ages, and they share a lot in common in
terms of form and function. However, technological changes have shaped these greatly over the centuries.
Some of the stringed instruments during this period were the lute, psaltery, Vielle, harp, lyre, and zither.
Lute psaltery
Vielle harp
Lyre zither
Let us choose between Dies Irae or Douce dame Jolie. Creat a new artwork relating and depicting one of the selections
that we listened to. Choose one from the art mediums below: Be ready to present this at class. You may use the space in
the next page.
For individual work:

1. Drawing or painting
2. Comic strip
3. Short narrative (10-15 sentences long)
4. Short poem
5. Short interpretative dance
6. Clay figure/model
7. Photograph
As a group:
1. Short role-play
2. Use the music as background for a product advertisement
3. Pantomime
LESSON 2: EXTRAVAGANT EXAGGERATIONS: THE BAROQUE PERIOD

Objectives:
1. Gain a basic knowledge and appreciation of the musical atmosphere, style, traditions, and historical context of the
Baroque period
INTRODUCTION:
The period in Western Europe spanning approximately the years 1600 to 1750 is usually called the “Baroque” period.
This term comes from the Portuguese word barroco, which refers to pearls of odd, irregular shape. In Tagalog, the closest
word we can associate with it is “barok” – usually referring to a corrupted, disjointed way of speaking. The word
“Baroque” was coined by art historians and scholars. Therefore, we may conclude that Baroque music was considered
eccentric and weird. However, this seemingly negative implication has changed as the years passed by. Many familiar
musical compositions to us come from the Baroque period. In today’s weddings, one can still hear Pachelbel’s ‘Canon in
D’, and Vivaldi’s Four Seasons’ can still be heard as background music in several movies and television shows.
In other fields such as science, discoveries were being made such as Copernicus’ heliocentric model, Leibniz and
Newton’s forays into calculus and optics, the invention of the earliest telescopes by Galileo, and the first crude
microscopes. These in turn spurred great philosophers such as Descartes, Hobbes, Locke, and Spinoza to perceive and
think in new ways. This climate also stimulated other artists like Shakespeare and Rembrandt to create masterpieces in
literature, painting, respectively. Absolutism, the belief of the “divine right of kings to rule” was enforced by the
monarchy. The emergence of a new, strong middle class also flourished in this period.
ACTIVITY:
I. Eliciting Response:
What comes into your mind when you hear the word “baroque”? Please write down your answers according to
your personal experience, and discuss with the class.
________________________________________________________________________________________
________________________________________________________________________________________
II. Listening
1. Let us listen to sample music [Track#19: Double Violin Concerto in Dm, BWV 1043 – J.S. Bach]
2. Let us listen to sample music [Track#20: “When I am laid earth”, from Dido and Aeneas – Henry Purcell]
ANALYSIS:
Answer the following questions and discuss with the class
A. Double Violin Concerto in Dm, BWV 1043 – J.S. Bach
1. What instrument/s did you hear? How many? Are these plucked or bowed?
________________________________________________________________________________________
________________________________________________________________________________________

________________________________________________________________________________________
________________________________________________________________________________________
3. How would the music change if a drum set was used in the background?
________________________________________________________________________________________
________________________________________________________________________________________
4. Describe the dynamics – does it change from soft to loud or does it remain the same?
________________________________________________________________________________________
________________________________________________________________________________________
5. Describe the rhythm – is it in a fast or slow tempo? Which tempo marking would best fit it: lento, andante, or
allegro?
________________________________________________________________________________________
________________________________________________________________________________________
6. What image comes into your mind when you hear this piece? Please describe or draw on the space below:
B. “When I am Laid in Earth”, from Dido and Aeneas – Henry Purcell

This is an aria (a song) from the opera “Dido and Aeneas”
Lyrics:
Thy hand, Belinda, darkness shades me

On thy bosom let me rest
More I would, but Death invades me;
Death is now a welcome guest
When I am laid in earth, May my wrongs create
No trouble in thy breast;
Remember me, but ah! Forget my fate
ANALYSIS:
Let us answer the following questions based on the aria listened to and discuss/compare with the class
________________________________________________________________________________________
________________________________________________________________________________________
2. Looking at our world today, is this music still relevant? How?

________________________________________________________________________________________
________________________________________________________________________________________
3. What do the lyrics mean to you? What do they suggest?

________________________________________________________________________________________
________________________________________________________________________________________
4. What instrument/s did you hear? How many? Are they playing the same melody as the voice? How do they relate
to the voice?
________________________________________________________________________________________
________________________________________________________________________________________
5. How many voices did you hear? Are there male/female voices?
________________________________________________________________________________________
________________________________________________________________________________________
ABSTRACTION:
Musical Life in the Baroque Period
During this period, composers were considered to be under the employ and patronage of certain institutions where they
could earn a living by doing their craft. Being a Baroque composer was like being a servant under the authority of a
master. He was more a crafts worker rather than a free-minded artist. These institutions are:
1. The court – Basically means being under the patronage of the royalty, from kings, queens, princes, barons, and
other members of nobility. Composers were commissioned to create works according to the nobility’s wishes and
purposes.
2. The church – As with the medieval period, composers, choir directors, and/or church organists played an
important role in ensuring a continuous output for church services and ceremonies.
3. The opera house – Opera was one of the leading musical genres of the day, and many private entrepreneurs
throughout Europe operated and maintained opera houses. This was like the mainstream: pop music” during the
time – the leading form of entertainment. The first public opera theatre opened in Venice, Italy in 1637.
Interior of a public opera theater
Palace of Versailles, France – a prime example of Baroque ornate style
CHARACTERISTICS OF BAROQUE MUSIC

A pervading sense of dualism can be outlines throughout Baroque art: that of extravagance as seen in the absolutism of
the monarchy, and that of careful calculation as embodied by the advances in science. The contrast between these two
elements – portrayed as loud versus soft sounds, soloist versus ensemble playing; is an important element of Baroque
music (refer to lesson 4 of Chapter 3).
Basso Continuo – Also called “thorough bass”, a device where both the melody and bass lines were written out but the
harmonic filling in between was done in shorthand symbols, usually using numbers.
The fugue – A musical device where a tune that begins a piece is repeated by other voices or instruments, usually a fifth
above or a fourth below it. It is a form of imitative polyphony.

Choose between Bach’s Double Violin Concerto or Purcell’s aria, “When I am Laid on Earth”. Create a new artwork
depicting one of the selections listened to. Choose one from the art mediums below:
Individual:
2. Comic strip
3. Short narrative (10 – 15 sentences long)
4. Short poem
7. Photograph
As a group:
8. Short role-play
10. Pantomime
LESSON 3: FROM EXAGGERATIONS TO SIMPLE ELEGANCE: THE CLASSICAL STYLE
Objectives:
At the end of the lesson, the student is expected to:
1. Gain basic knowledge of the musical atmosphere, style, traditions, and historical context of the Classical period.
INTRODUCTION:
When we say the term classical music, most of us think about boring, ancient music that is artsy, fancy, and complicated.
There is also a connotation that classical music is intended only for rich people. While some of these may or may not be
true, let us try to arrive at the correct, objective definition of the word “classical”. The Classical period is a time in
Western music history that spans approximately 1750 – 1820. These dates are just approximations. This does not
necessarily mean that people had a consensus that after 12 midnight of December 31, 1749, they would start the Classical
period. No, it does not work like that. Remember that the Baroque period’s dates range from 1600 to 1750. It does not
mean that the styles suddenly changed in an instant. We have to realize and understand that there were stylistic changes in
the later part of the Baroque period that were the seeds that started the Classical period. In a sense, these two periods
overlap. There is no exact date where historians can pinpoint when the Baroque Era ended and when the Classical Era
began. The same can be said for all other historical/musical eras. Classical music, or sometimes called art music, refers
to music composed mainly for opera, ballet, concerts, or religious ceremonies, and is usually more complex than popular
music. In this chapter, we are surveying different eras of classical music, from the Middle Ages up to the present. In this
sense, Classical music is like a colloquial, umbrella term for all art music from the ancient times up to this day. However,
the Classical period is just one of the many periods of music history.
It was in the city of Vienna where the Classical style flourished. Its geographical location made it an intersection between
other musical nations such as Italy to the south and Germany to the north. This in turn also exposed the city to political,
cultural, and intellectual circumstances that shaped its artistic atmosphere.
The middle class grew in size and significance during this period, and so a greater part of the population became more
interested in music and the arts. This period was also the time when the Age of Reason or Enlightenment occurred, and
the main rationale during the time was that of “life, liberty, and the pursuit of happiness”. Public concerts increased in
demand, and musical forms such as the opera buffa (Italian comic opera) and symphony took center stage. Similarly, in
literature, the new genre that arose was the novel, which had its roots in England.
ACTIVITY: LISTENING
Let us listen to sample music [Track#21: Symphony #40 in G minor, Molto Allegro – W.A. Mozart]
ANALYSIS:
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3. Why do you think this piece was used as a ringtone in the part by a cell phone company?
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ACTIVITY: LISTENING
Listen to sample music [Track#22: “Moonlight Sonata”, 3rd movement – Ludwig van Beethoven]
ANALYSIS:
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3. Could this piece be used in an advertisement? What product could it be?

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ABSTRACTION:
The First Viennese School
The “First Viennese School” is a term used to refer to the three major composers of the classical era who were based in
Vienna. These were Franz Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven. Each of them
made great contributions through their compositions.
Franz Joseph Haydn was considered to be the “Father of the Symphony”. He composed hundreds of symphonies, some
of which had nicknames, such as the “Clock Symphony” and the “Mercury Symphony”. Born in Rohrau, Austria, he
also composed extensively for chamber music, especially in the genre of the string quartet. He was under the employ of
the princes of Esterhazy, a wealthy patron of the arts.
“There was no one near to confuse me, so I was forced to become original” – Franz Joseph Haydn
Wolfgang Amadeus Mozart, one of the most brilliant child prodigies the world produced, was born in Salzburg, Austria.
He displayed exceptional musical talent at a very young age, playing the violin, keyboard instruments, and composing.
His fame spread across the continent and is still very popular even until today. Some familiar tunes, such as “Twinkle,
Twinkle Little Star” and “Rondo alla Turca” (Turkish March) were composed by Mozart. He composed in a great
variety of musical styles, from operas, church music, vocal solos, and instrumental forms – such as sonatas and chamber
music. His operas, such as “Cosi Fan Tutte”, “The Marriage of Figaro”, and “The Magic Flute” ranked among the
finest examples of opera.
“Love, love, love, that is the soul of genius” – Wolfgang Amadeus Mozart
Ludwig van Beethoven – born in Bonn, Germany, moved to Vienna in 1792. A true musical genius. Beethoven
continued composing long after he lost his sense of hearing. In his early years, Beethoven’s style mirrored that of Haydn,
but as he matured he developed a more mature and individual voice, one which led him to be considered the leading
transition figure between the Classical period and Romanticism. He is usually represented as a “madman”, having a
fierce, unbridled personality. Among his greatest compositions are “Fur Elise”, a piano piece dedicated to one of his
students, his 32 piano sonatas, and his monumental 9th Symphony – a symphony that was truly remarkable, for it was
lengthier and more complex than any other symphony during its time, plus it incorporated a choir and solo singers at the
last movement. It is in this last movement where the famous tune “Ode to Joy” can be heard, which was an expression of
universal brotherhood and faith in mankind. Its melody was also used as a church hymn.
“Music is a higher revelation than all wisdom and philosophy” – Ludwig van Beethoven
Qualities of Classical Music
The distinct qualities of music from the classical period are modelled after the spirit of ancient Greece: natural simplicity,
elegance, balance, discipline, measure and self-control. There was a variety and sensitivity of contrast to dynamics, which
were now purposefully marked on the score. This new flexibility in dynamics was made possible due to the rise of a new
instrument, the piano, which was gaining popularity and favor over the older keyboard instruments like the clavichord
and the harpsichord, which could not produce variations in loudness and softness of tone.
Clavichord Harpsichord
APLICATION AND ASSESSMENT:

Choose between Mozart’s Symphony #40 or Beethoven’s “Moonlight Sonata”. Create a new artwork depicting one of the
selections listened to. Choose one from the art mediums below:
Individual:
2. Comic strip
3. Short narrative (10 - 15 sentences long)
4. Short poem
7. Photograph
As a group:
8. Short role-play
10. Pantomime
LESSON 4: THE ARTIST: LIVING LARGER THAN LIFE IN THE ROMANTIC ERA
Objectives:
1. Gain a basic knowledge of the musical atmosphere, style, traditions, and historical context of the Romantic period
INTRODUCTION:
When we hear the word “romanticized”, what comes into our mind? One definition according to Merriam Webster’s
Dictionary is “to present details, incidents, or people in a glamorous, idealized way”. Another definition of the word is to
describe something or someone in a rather unrealistic, exaggerated, sensationalized style”. We encounter this when we
read novels, biographies of famous people, advertisements, or when watching and listening to the news.
Nowadays, rock stars and popular music idols have been glorified and romanticized – people not only know their songs
but also their personal affairs and lives. The music industry makes sure to create and sustain hype for their captive market
(especially the youth and young adults) to ensure their commercial success.
This phenomenon is not something new, for more than 200 years ago, the same thing was already happening in Western
art music. The concert platform was dominated by highly skilled, sensational performers who electrified their audiences
not just by their playing but also by their personalities – some were flamboyant, while some were weird and eccentric.
These musicians are called virtuosos. Would you happen to know some virtuosos of today? The composers also were
considered to be big shots, especially if they performed their own music. During the Romantic period, these guys were the
ones creating the big hits, and they were very much in the center of intellectual and artistic circles of Europe.
ACTIVITY: LISTENING
Let us listen to sample music [Track#23: Piano Concerto in Bb, 1st movement, by Piotr I. Tchaikovsky]
ANALYSIS:
After listening to the track, let us answer the following questions, and discuss with the class.
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2. Based on what you heard, does the music sound mostly consonant or dissonant in harmony? (You may refer and
review Lesson 2 from Chapter 3)
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3. If this was going to be a film score (background music for a film or movie), what would be the theme or story of
that film? You may also give the title of the film.
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4. Based on what you heard from the track, is this part of the piece more on the loud side (forte – fortissimo) or on
the soft side (piano – mezzo piano) in relation to dynamics? (You may refer to Lesson 2 of Chapter 3)
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5. The composer is Russian in origin. Do you feel any patriotic or nationalist sentiment in the composition? Or is it
written more in a highly individual, personal way? Explain.
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ACTIVITY: LISTENING
Let us listen to some music [Track#24: “The Swan” by Camille Saint-Saens]
ANALYSIS:
After listening to the track above, let us answer the following questions, and discuss with the class.
1. Based on what youheard from the track, is this part of the piece more on the loud side (forte – fortissimo) or on
the soft side (piano – mezzo piano) in relation to dynamics?
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2. Based on what you heard, what would be the correct, ideal tempo marking for this composition? Choose from the
possible answers. (You may refer to Lesson 3 of Chapter 3) Encircle the correct answer.
a. Presto furioso b. Vivace scherzando c. Andantino grazioso

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4. The composer is French in origin. Do you feel any patriotic or nationalis sentiment in the composition? Or is it
written more in a highly individual, poetic way? Explain.
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5. Instead of “The Swan”, what other title/s could you think of that would suit the character of this piece?
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ABSTRACTION:
Life in the Romantic Era
The Romantic Era was a movement in the arts, literature, and music in Europe that spanned from 1800 until the middle of
the century. In music, the generally accepted dates start approximately from 1820 to 1900. This movement was a reaction
against the previous movement, Classicism. The tenets of balance, restraint, order, elegance, measure, and self-control
gave way to new themes: individualism, nostalgia, nationalism, an exaggeration on the beauty and forces of nature,
heroism, romance, emotion, the \macabre, and a regard for poetic subjects. The Romantics were giants – they and their
works were larger than life, mirroring the rapid changes happening during that age. There are several events that helped
shape the direction and development of the arts, music, and literature. Most notable are the Industrial Revolution, the
expansion of European powers through their colonies, revolutions in Italy, France, and some German states, and the
emergence and dominance of the middle class. These caused changes in the artists’ way of thinking, especially musicians.
In the previous eras, composers had to create music suitable for their patrons, for the aristocracy, or for the church. In the
Romantic era, the composer’s individual right to express his/her own emotions, imagination, and opinions came into play.
Music has always been a medium for the emotions, and the Romantics exploited this ideal to make emotions the
centerpiece of their compositions.
Romanticism landscape painting
Romantic Music – Style
In our everyday lives, we have the privilege to choose what clothes to wear. There are people who dress to impress,
making a fashion statement with their clothes while there are some who dress simply and functionally. During the
Romantic period, every musician, especially composers, had to have a personal style or trademark. Individual expression
was the cult of the times; and innovation, spontaneity, creativity, and improvisation were at a high premium. During the
Classical era, composers used standard forms as a mold for creating music; but in the Romantic era, the use of forms was
only secondary to the emotions they wanted to convey.
Program Music
Composers use poetry as inspiration for many of their compositions, both for vocal and instrumental music. Program
music is usually exclusively applicable only to instrumental music, wherein it depicts non-musical sources. These sources
may vary – from events, themes, places, poems, or passages from literary works. The music makes more sense when
listeners are informed about the source/s being illustrated by the composition. Although program music was already used
as early as the Baroque period, it was used more extensively in the Romantic era, due mainly to the influence of folk
stories and other literary works. Camille Saint-Saens’ “The Swan” which we listened to earlier in this lesson, is a fine
example of program music. Rimsky-Korsakov’s “The Flight of the Bumblebee” a popular piano piece is another example.
Two Contrasting Composition Types

We shall look at two notable types of compositions that arose during this period: miniatures and grandiose compositions.
Miniature – the miniature was a “small piece”, a short composition that lasted for a few minutes. Most
miniatures were composed for intimate settings, that is, for performances in small chamber halls or for enjoyment
in a private residence’s living room. These are usually short songs or short piano pieces where the composer can
exhibit his/her personal style and compositional language in a brief yet intense way. Examples of miniatures are
nocturnes (songs for the night or evening), preludes (short introductory pieces), intermezzos, eludes (exercises),
polonaises (Polish dances), and serenades.
ACTIVITY: LISTENING
Let us listen to some examples of Romantic miniatures:
1. [Track#25: “Traumerei” (Dreaming), from Scenes of Childhood by Robert Schurmann]
2. [Track#26: Nocturne op. 27 no. 2 in D-flat Major by Frederic Chopin]
3. [Track#27: Polonaise op. 53 in A-flat Major, “Heroic” by Frederic Chopin]
Grandiose Compositions – in contrast to the miniatures, there are also compositions that require huge musical
forces – larger and longer symphonies, concertos, operas, and cantatas. The goal was to create a marvelous
impression on the audience using a greater number of performers, longer performing times, and the
complementary use of other art forms such as poetry, theatricality, grand dramatic gestures, and even the use of
religion. Tchaikovsky’s Concerto for Piano & Orchestra in B-flat, which we listened to earlier, is an example.
The Virtuoso
At the beginning of this lesson, we talked a little about the virtuosos, who were the rock stars of the 19 th century. Let us
take a brief look at two leading virtuosos of the Romantic period. Franz Liszt of the piano and Niccolo Paganini of the
violin.
Franz Liszt – Born in Raiding, Hungary in October 1811. Franz Liszt was a child prodigy who gained great renown
throughout Europe as one of the leading pianists of his day, touring city after city and dazzling his audiences with his
dexterity, improvisational skills, and his charming and flamboyant personality. He had tempestuous love affairs, some of
which were public and which added to his fame. He also was a composer, conductor, writer, teacher, and philanthropist.
He promoted the music of his fellow composers. In 1837, he and another piano virtuoso, Sigismund Thalberg, his
greatestrival, had a public showdown to prove who was the ultimate pianist of the time.
Franz Liszt, virtuoso of the piano
Niccolo Paganini – Born in Genoa, Italy on 1782. Paganini was the greatest violinist during his time. He has a great
influence on the development of violin-playing technique. Like Liszt, he travelled extensively, causing sensations
everywhere he performed. His feats were so astounding that it was rumored that he was in league with the devil. Paganini
also was a composer, and played other instruments such as the viola and the guitar. His “Twenty-Four Caprices for
unaccompanied violin” are his most popular and notable works for the instrument.
Some of the leading and prominent composers of the Romantic period are the following:
Robert Schumann (1810-1856) – Born in Zwickau, Germany, Schumann was gifted both in music and literature. Initially,
he wanted to focus on a career as a pianist but when one of the fingers of his hand got injured, he shifted to composing
and writing articles for music journals. Schumann had a knack for creating great, lyrical melodies, and is considered to be
one of the greatest composers of his time. He had two opposing personalities, as he signed some of his written articles
with the name “Eusebius”, while others with the name “Florestan”. This later progressed to a mental disorder, and
eventually he had to be put away in an asylum, where he died tragically at the age of 46.
“To send light into the darkness of men’s hearts – such is the duty of the artist” – Robert
Schumann
Frederic Chopin (1810-1849) – Born in Warsaw, Poland, Chopin’s father was a Frenchman while his mother was a
Polish. He established himself as a pianist and as a teacher of the piano, and spent most of his life in Paris. He is popularly
called the “Poet of the Piano” for it is in this instrument that Chopin extensively composed. The Minute Waltz is one of
his most well-known works, though several of his other compositions have been used even in pop music of the 20 th
century, such as the theme for the song “No Other Love”. Chopin’s style is highly original, and is of great musical and
technical importance.
“Simplicity is the final achievement.

After one has played a vast quantity
of notes and more notes, it is simplicity
that emerges as the crowning reward of art.”
- Frederic Chopin
Johannes Brahms (1833 – 1897) – Born in Hamburg, Germany, he has a lifeling friendship with Robert Schumann and his
wife, Clara. Later on he settled in Vienna. Brahms composed a vast amount of music, especially chamber music. He also
composed many songs and piano miniatures. What is special about Brahms was that he rejected the new ideas and
innovations of Romanticism. Despite having a command of new romantic harmonies and tone colors in his palette,
Brahms moved more along the lines of Classicism, looking to Beethoven as his model.
“Without craftsmanship, inspiration is a mere reed shaken in the wind.” – Johannes
Brahms
Felix Mendelssohn (1809 – 1847) - Born in Hamburg, Germany. Grandson of the distinguished Enlightenment thinker
Moses Mendelssohn, he was gifted not only in music but also in painting. Besides being a composer, he was also a
conductor and a pianist. He was associated to spearheading a revival of the music of the great Baroque composer, Johann
Sebastian Bach. Examples of his most popular works are “A Midsummer Night’s Dream” and his Violin Concerto in E
minor.
“ART AND LIFE ARE NOT

TWO DIFFERENT THINGS”
- FELIX MENDELSSOHN BARTHOLDY
Other notable composers of the period are Richard Wagner, Edvard Grieg of Norway,
Franz Schubert, and Hector Berlioz of France.
Choose between Tchaikovsky’s Piano Concerto in Bb or Saint-Saens’ “The Swan”. Create a new artwork depicting one of
the selections listened to. Choose one from the art mediums below:
Individual:
2. Comic strip
4. Short poem
7. Photograph
As a group:
8. Short role-play
9. Use the music as a background for a product advertisement
10. Pantomime
LESSON 5: SIGNS OF THE TIMES: MODERNITY AND BEYOND

Objectives:
1. Gain a basic knowledge of the musical atmosphere, style, traditions and historical context of the Modern period,
especially the time at the turn of the 20th century
3. Create a different artwork in relation to the music selections listened to, either individual or as a group.
INTRODUCTION:
The term “modern” has become a multi-faceted word, having various meanings and implications in different fields. It may
refer to a time in history, a way of thinking, scientific and technological advances, a style of fashion, and attitudes. We,
the people of today, consider ourselves to be part of this paradigm in terms of chronology. What may be considered
“modern” today may be obsolete tomorrow, especially with the rapid changes in our world. They say that the world is
getting smaller… or is it?
The turn of the 20th century is generally agreed upon as the dividing line between the Romantic Era and Modern Music.
However, there were already changing musical styles germinating during the late 1800’s that were the beginnings of new,
emerging idioms. We cannot discount that history always plays an integral part in affecting the course of musical styles,
as these styles may or may not be reactions against these historical events.
ACTIVITY: LISTENING
Let us listen to sample music. [Track#28: Sonata No. 5 in C, op.38/135, Un poco allegretto – Sergei Prokofiev]
ANALYSIS:
1. Can you hear or sense a story behind the piece? Can you give your own personal title for it?
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2. Are there tempo (speed) changes within the piece? What instruments do you hear? How many instruments are
there? Write a short story about the piece.
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3. Is there a lyrical (song-like) melody in the piece, or does it use motives instead?
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ACTIVITY: LISTENING
Let us listen to sample music. [Track#29: “Off to Osaka” by K. MacLeod]
ANALYSIS:
1. Describe what you imagine in your mind as you listened to the track. What is the mood? What is the setting
(place)? Guess around what year/s was this style prevalent.
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2. What instruments did you hear? Are they treated with equal importance, or not? How? Could lyrics be put to it, or
not? If yes, what would be the theme of the song?
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3. Give another possible title suitable for this piece.

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ACTIVITY: LISTENING
Let us listen to sample music. [Track#30: Electronic Bass & Pop Guitar by Frankumjay]
ANALYSIS:
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2. Is there a melody? Are there changes in the tempo (speed)?

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3. What do you think was the composer’s message to the audience?

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4. If you were to use this music as a background for a film, what would the film’s title be?
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ABSTRACTION:
Music of the 20th Century
In Europe, the 20th century began on a positive note, and the majority of the population was jubilant for a bright future.
Feelings of advancement, prosperity, expansion, and optimism were apparent all throughout the continent, and the
population dramatically increased as well. Developments in technology, engineering, and medicine improved human
lives. However, this was all changed by two World Wars, which greatly shaped the consciousness and attitudes of people,
especially those in music and the arts. In this lesson we will see and briefly explore several musical trends that occurred in
the course of this era.
The Second Viennese School: Atonality and Serialism

Do you still remember the First Viennese School from the Classical period? In the early 20 th century, the Second Viennese
School came into being, but their musical idiom was vastly different from their 18 th century counterparts. Also principally
made up of three composers, their music was characterized by a shift from tonality to atonality, that is, music which is
not centered on a certain key. When we listen to music of this type, we cannot decipher whether it is in the key of G or
the key of F. Their music also employed serialism – a compositional technique that equally uses all the 12 notes of the
chromatic scale, without favoring a note/s among others. This is also sometimes called the 12-tone technique. This
ensures that all notes will receive “equality” of use throughout a composition. The three major composers who make up
this group are Arnold Schoenberg, Alban Berg, and Anton Webern.
ACTIVITY: LISTENING
Let us listen to an example of atonal music. [Track#31: “Atonal in C-ish” by K. MacLeod]
Impressionism
Impressionism began in France at around the early 1860’s, and was a reaction toward realistic portrayals of subjects.
Instead, Impressionism put emphasis on fleeting, momentary impressions rather than focusing objectively on structures or
forms found within an artwork. Some common themes of Impressionistic music are water fountains, clouds, mist, vapos,
reflections, and moonlight. Harmonies and chords are unstable and unexpected; and its sounds are quite exotic and
ethereal. Its central figure in music is Claude Debussy. Other composers who are representatives of this idiom are
Maurice Ravel of France, Ottorino Respighi of Italy, and Charles Griffes from the United Kingdom.
“Music is the silence between the
notes.”
ACTIVITY: LISTENING
Let us listen to an example of Impressionistic music: [Track#32: “Claire de Lune” by Claude Debussy]
Minimalism
In the 1960’s, a tendency towards simplicity in music was founded by several American composers. They desired a kind
of music which was free from too much sentimentality and technical difficulties. Their compositions were not that
dramatic, and changes within the music are realized generally in longer periods of time, in a carefully staggered way.
Minimalism, as the name suggest, hoped to bring back music to its most basic elements. The foremost figures in this style
were Steve Reich, Terry Riley, La Monte Young, and Philip Glass (whose Glassworks we have listened to earlier in
this lesson).
Electronic Music
The advent of electronic instruments, notably the synthesizer, recording equipment, and other innovations gave rise to
music which was not derived or created from the known standard musical instruments, whether from Eastern or Western
origin. New electronic instruments appeared that were capable of making sounds previously considered unimaginable.
Composers now had a vast palette of sounds to choose from, such as the engine rev of a motorbike or the buzz of a
doorbell, to sounds made by an ambulance whizzing by. This movement started primarily after World War II. Sound
editing and other transformational processes such as “splicing”, “back-masking”, and “overdubbing” were also used
widely in these compositions. Some composers from this idiom are Milton Babbitt, Karlheinz Stockhausen, and
Luciano Berio.
Nowadays, many compositions are created not from organic sources, but from electronic programs and equipment.
ACTIVITY: LISTENING
Let us listen to an example of Electronic Music. [Track#33: “Scanner Reel” by Robin Rimbaud]
Jazz

Originally from the United States, jazz music has taken many forms and has borrowed from a combination of influences
such as African rhythms, Black Spirituals, plantation dance music, and even European classical music. Jazz has spread
widely across the globe. Black American musicians were the first performers of jazz, and some of them having no formal
music training at all. Improvisation and syncopation are two main distinct characteristics of jazz music. Improvisation is
a musical skill wherein a performer creates new music extemporaneously. In this regard, the jazz musician takes on the
role as an “on-the-spot” composer as well. Syncopation is an element of jazz where rhythmic patterns, beats, and accents
are arranged in irregular and unexpected places, this giving the music a more exciting sophisticated feel. Both Western
and Eastern musical instruments have been used to perform jazz.
The earliest origins of jazz came from a musical style called ragtime, which was born in St. Louis, Missouri, in the
1890’s. It was primarily composed for the piano. Jazz quickly became popular in the United States, and other cities
became centers of this musical idiom, especially New Orleans, Chicago, Memphis, and New York. The rise of jazz
occurred during the 1920’s which is sometimes referred to as the jazz age. Today, there are many varied subgenres of
jazz. Here are a few: acid jazz, bebop, cool jazz, swing, bluegrass, and punk jazz. Sonny Rollins’ “St. Thomas”, which we
listened to earlier, is a fine example of jazz.
Wynton Marsalis and the Jazz

Choose between Prokofiev’s Sonata No. 5 in C op. 38/135. MacLeod’s “Off to Osaka”, or Frankumjay’s “Electronic Base
& Pop Guitar”. Create a new artwork depicting one of the selections listened to. Choose one from the art mediums below:
Individual:
2. Comic strip
4. Short poem
7. Photograph
As a group:
8. Short role-play
10. Pantomime

LESSON 6: THE PHILIPPINES: 7,107 ISLANDS, ONE COMMON VOICE
Objectives:
1. Gain a basic knowledge of the musical style, developments, qualities, and trends of Filipino music
3. Create a different artwork in relation to the music selections listened to, either individually or as a group.
INTRODUCTION:
The Philippines, being a vast archipelago consisting of more than 7,000 islands, is a nation with many different musical
cultures and styles. Each region has its own particular array of songs, traditions, chants, nuances, musical attitudes,
instruments, artists, and compositions. Sadly, we are not very aware of this vast and colorful collection of musical
material, for we rarely even see or hear them being performed in media (television, radio, or social media, and live
performances). What we hear on the radio is mostly commercial pop music, which is not bad; but we as citizens of this
nation are being deprived of the opportunity to listen to alternative music that is representative of our native heritage and
national identity as Filipinos. This lesson aims to help the student aware and appreciate a few musical idioms that we can
call our very own.
ACTIVITY: LISTENING
Let us listen to a sample of Philippine vocal art music. [Track#34: “Mutya ng Pasig” by Nicanor Abelardo]
ANALYSIS:
After listening to the track, let us answer the following questions and discuss it with the class:
1. What do you think is the message of the song?
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2. Is the message still relevant to our society today? If yes, how? If no, why not?
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3. What if the mood being portrayed by the song? Who do you think is being referred to as the “Mutya ng Pasig”?
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4. Do you think that an awareness of songs like this can help instill a sense of national pride in our identity? How
can these songs be revived or promoted for today’s listeners?
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MUTYA NG PASIG – Lyrics
Kung gabing ang buwan
sa langit ay nakadungaw;
Tila ginigising ng habagat
sa kanyang pagtulog sa tubig;
Ang isang larawang puti at busilak,
Na lugay ang buhok na animo’y agos;
Ito ang Mutya ng Pasig,
Ito ang Mutya ng Pasig.
Sa kanyang pagsiklot
sa maputing bula,
Kasabay ang awit,
kasabay ang tula;
Dati akong Paraluman,

sa kaharian ng pag-ibig,
Ang pag-ibig ng mamatay,
Naglaho rin ang kaharian.
Ang lakas ko ay nalipat,

Sa puso’t dibdib ng lahat;
Kung nais ninyong ako’y mabuhay,
Pag-ibig ko’y inyong ibigay.
ACTIVITY: LISTENING
Let us listen to a sample of Philippine instrumental art music.
[Track#35: Divertimento – 3rd movement, by Alejandro Consolacion]
ANALYSIS:
After listening to the track, let us answer the following questions and discuss it with the class:
1. What Filipino folk song/s did you hear, if any? Can you name them?
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2. How did the music make you feel?

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3. Do the music change moods or does it stay the same?

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4. How do you think would people react if there was a live performance of this composition in an urban shopping
mall? Please elaborate.
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ABSTRACTION:
Musical Idioms of the Philippines
In this section, we will take a brief look at some notable music traditions and idioms found in our country.
Indigenous Music of Northern Philippines

In the northern part of the Philippines, there are two notable music traditions: (1) that of the Negritos and (2) that of the
peoples that inhabit the Cordillera mountain range.
Music is primarily used as a part of the Negritos’ ceremonies and rituals, such as marriage rituals, healing the sick, burial
rites, and memorials for the dead. Singing is usually accompanied by dancing and by musical instruments, such as the
bansi (a type of flute); the kudyapi (a two-stringed guitar-like instrument); and the kimbal (conical drum).
Bansi Kudyapi
In the Cordillera mountain range of Luzon, flat gongs called gangsa are principally used in indigenous music. These
gongs are usually made from brass or bronze. These are used in occasions such as life-cycle celebrations, peace pacts,
and weddings, to name a few. Gongs are considered to be highly valuable, prestigious instruments, and they may be
offered as dowry for marriage, exchanged or sold for animals, farmland, or other necessary commodities. Gongs may be
played in two ways: either to be struck by hand (topayya) or to be struck with sticks (palook).

Gangsa
Besides gongs, there are other musical instruments which are usually made out of wood and bamboo. Some examples are
bamboo percussion tubes (Kalinga tongatong), bamboo buzzer (Kalinga balingbing, Ifugao bungkaka, or Ibaloi
pakkung), bamboo nose flute (Bontok kaleleng), bamboo tube zither (Isneg kuritao), and the three-stringed fiddle
(Ilonggot kulibao or litlit).
Balingbing – Kalinga
Bungkaka – Ifugao
Pakkung – Ibaloi

Kaleleng – Bontok Kuritao – Isneg
Kulibao or Litlit – Ilonggot
The Native Music of Southern Philippines

In the southern part of the Philippines, there are music traditions both from indigenous peoples and from a Muslim-
influenced culture.
Gongs and gong ensembles

Gongs are also widely used in the south, just like in the north, with one main difference: gongs in the south are bossed
(there is a protruding bulge at the center). Due to this, the sound of gongs from the south are fuller, more projected and
focused compared to the sound of gongs from the north. There are gongs that are suspended (agung and gandingan) and
there are those that are laid flat in a row (kulintang). These are found particularly in the Sulu archipelago and south-
western Mindanao. The kulintang gongs are usually smaller in size compared to suspended gongs, which are heavier and
are usually used as punctuation in music. The kulintang gongs are capable of producing identifiable pitches, unlike the
gongs in the north which have indefinite pitch.
Other Instruments
Besides gongs, other instruments found in the south are the following: the lip-valley flute (palendag), jew’s harp
(kubing), xylophone (gabbang), violin (biola), and percussion beams (kagul).
Kubing

Gabbang Biola
Kagul
Native Vocal Genres

The Kundiman and the Kumintang are two salient vocal idioms of Philippine art music.
The Kundiman
The Kundiman is a type of Filipino art song that is written in triple time, and usually begins in a minor key. It is referred
to as the signature love song of the country. Its theme generally portrays the “faithful and true, but often forlorn pleadings
of a lover who knows nothing but sacrifice in behalf of his beloved.” (Padilla de Leon, 1969). According to Raymundo
Banas (1969), there are three possible theories as to the origin of the word “Kundiman”:
1. A contraction of the phrase “kung hindi man”;
2. A derivation from the verse “hele, hele ng kundiman”;
3. The red cloth worn by men and male dancers in the countryside.
Examples of notable Kundiman are “Pakiusap”, “Madaling-Araw”, and “Anak ng Dalita”, all composed by Francisco
Santiago. Other prolific writers of Kundiman were Nicanor Abelardo, Santiago Suarez, Antonio Molina, Lucrecia
Kasilag, Felipe de Leon, and Bonifacio Abdon.
The Kumintang
In the 1800’s, historians referred to it as the “national song and dance” of the Philippines. The Kumintang was originally a
“war song that inflamed combatants to action” (Manuel Walls y Merino, 1892). The province usually associated to its
origin is Batangas, where it developed into a song-dance form. Also written in triple time, it is a love dance performed to a
sad dong, usually accompanied by a guitar or a double bass.
“Mutya ng Pasig”, which we listened to earlier, is a remarkable example of Kumintang.

Performing Groups
There are various musical performing groups in the country. These are a few notable examples:
Choral Groups
The Philippines has a very strong choral musical tradition. Here are some prominent choirs which have
established both a national and international reputation:
1. The Philippine Madrigal Singers
2. The University of the Philippines Concert Chorus
3. Loboc Children’s Choir (Bohol)
Bands
Bands which are composed of woodwinds, brass instruments, and other percussion instruments such as drums
also have a significant following especially in these provinces: Rizal, Bulacan, Batangas, Bataan, Cavite, Laguna,
La Union, and Pampanga. These range from military marching bands, civilian bands, and town bands.
Musikong Bumbong
This is a type of ensemble (usually in band configuration) that has instruments made of bamboo. These ensembles
are very few and quite unique in the sound that they produce.
Orchestras
The Philippines has a few orchestras, and these are the following:
1. PPO – Philippine Philharmonic Orchestra
2. MSO – Manila Symphonic Orchestra
3. MMCO – Metro Manila Community Orchestra

4. UPSO – University of the Philippines Symphony Orchestra
5. ABS CBN Orchestra
6. UST Symphonic Orchestra
7. MPO – Manila Philharmonic Orchcestra
8. Orchestra of the Filipino Youth
Rondalla
The Rondalla, originating from Spain, is an ensemble (performing group) that was later customized and
transformed to fit Filipino culture. Also called the Filipino “Stringed Band”, these groups play a wide range of
repertoire, from folk, modern, and even foreign classical music. These are mostly transcriptions of other vocal and
instrumental compositions. The usual instruments found within a rondalla are the bandurria, laud, octavina,
guitar, and double bass. Rondallas are found throughout the country, especially in many public schools.
Avenues for Musical Exposure

NAMCYA – National Music Competitions for Young Artists
Established in 1973, these are annual competitions that showcase promising musicians in different performing
categories, such as in piano, strings, winds, choral singing, rondalla, and voice. These competitions start from the
provincial/regional level and conclude with the National Finals, which are usually held at the CCP (Cultural
Center of the Philippines) from late November to early December each year.
Concert at the Park

“Concert at the Part” is a regular series of music performances which has been on-going for quite some time.
These concerts are held at the Luneta Open Air Auditorium, and are also sometimes aired simultaneously via
television. Its concerts are open to the public.
Paco Park Presents

Just like “Concert at the Part”, this regular series of outdoor music performances are held at a different venue.
Historic Paco Park, which is actually a cemetery from Spanish colonial times, has a large circular courtyard where
the concerts are held.
Bamboo Organ Festival

St. Joseph Parish Church in Las Piñas is home to an annual classical music festival, usually held during mid or
late February. Its grand antique organ, made almost entirely of bamboo, was constructed in 1824. It is a popular
tourist attraction, and this unique organ was declared a national cultural treasure of the Philippines. The Bamboo
Organ Festival concerts are open to the public.

St. Joseph Parish Bamboo Organ – Las Piñas
Music Schools, Colleges, and Conservatories

These higher places of learning usually have concert halls wherein the general public may attend to witness live musical
performances, symposia, workshops, master classes, music festivals, and other music-related events. The following are
some of the higher institutes for leaning music in the Philippines:
1. PHSA – Philippine High School for the Arts, Makiling, Laguna
2. University of the Philippines College of Music – Diliman, Quezon City
3. University of Santo Tomas Conservatory of Music – Manila
4. Philippine Women’s University – Manila
5. St. Scholastica’s College – Manila
6. St. Paul’s College – Manila
7. Colegio de Sta. Isabel – Manila
8. La Consolacion College – Manila
9. Centro Escolar University – Manila
10. University of San Agustin – Iloilo
11. Silliman University – Dumaguete, Negros Oriental

Let us listen to another sample of Filipino art music. [Track#36: Humoresk: based on “Telebong” by Augusto Espino]
Create a new artwork depicting the selection listened to. Choose one from the art mediums below:
Idividual:

2. Comic strip
4. Short poem
7. Photograph
8. Rap (use any native Filipino language or dialect)
As a group:
9. Short role-play
11. Pantomime

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ART APPRECIATION

What is Art for: Functions, Relevance, and Significance

“I’m not an artist, I don’t know how to appreciate art!”

The Third of May 1808

2. Happiness and Hope

3. Identity and Understanding the Self

4. Grief and Healing

5. Remembering and Mark-making

7. Culture and Togetherness

2. Explore other artworks that also reflect the functions discussed.

LESSON 2: HOW DO I STUDY ART?: MAKING ART

ABSTRACTION: What’s in a circle? Art Elements and Principles

White: pure, Yellow: optimism, Violet: royal, Black: glamor,

ACTIVITY AND APPLICATION:

ACTIVITY AND ANALYSIS:

Let us say this artwork below is what you saw

Methods in Reading Art:

“The Fall of Man” by Cornelis Cornelisz Van Haarlem

Vincent Van Gogh “Self Portrait”, 1889

To study and draw a perfect human form, I

You know this block of marble here,

why: the narrative

what: the subject

Added Insight: Valuing of Artist’s Process and Work through Money

What kind of gadget would

What is an art connoisseur?

LESSON 1: HOW PHILIPPINE IS PHILIPPINE ART?

1. Fernando Amorsolo interpreted the “Philippine Light”

2. Vicente Manansala developed his rendition of transparent cubism technique

An example on the application of transparent cubism

4. Napoleon Abueva’s modernist but Filipino-themed sculptures

2. Hispanic Influence (1800’s)

4. Second Republic: 1942 – 1945

5. Third Republic: 1946 – 1972

6. Fourth Republic: 1972 – 1986

7. Fifth Republic Onwards: 1986 – Present

Paste your ideas on the next few

Option 1: This color scheme is simple

3. Who and what are the influences of the designs?

Philippine colors and their local names

Some terms used when mounting artwork:

Knowing the National Museum of the Philippines

National Museum of Fine Arts National Museum of Anthropology

Write your essay here:

LESSON 1: THE AURAL REALM: SOUND, SILENCE, MUSIC, AND NOISE

ACTIVITY: CRITICAL THINKING

The famous “ta da da daaaaaa” motive in Beethoven’s 5th Symphony.

Harmony: Am I in tune or out of tune?

Chords: Major – major or major – minor?

Sound waves and Sound weaves: Texture

Dynamics: From whispers to explosions

pianississimo (ppp) very very soft

crescendo (cresc.) gradually getting louder

decrescendo (decresc.) gradually getting softer

subito (suddenly), as in:

2. Explain why you chose those words in class.

ONE TWO THREE FOUR, ONE TWO THREE FOUR

ONE TWO THREE, ONE TWO THREE

Other terms used in conjunction with abovementioned terms:

APPLICATION AND ASSESSMENT: