music & arts gr10 tg teaching guide qtr 1 to qtr 4 complete

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HORIZONSGrade 10

Teacher’s Guide

Music and Arts Appreciationfor Young Filipinos

Raul M. Sunico, Ph.D.Evelyn F. Cabanban

Melissa Y. Moran

GOVERNMENT PROPERTYNOT FOR SALE

ALLOTTED TODistrict/ School: ____________________________________________________________

Division: ____________________________________________________________

First Year of Use:____________________________________________________________

Source of Fund (year included): ______________________________________________

Department of EducationRepublic of the Philippines

All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

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HORIZONS Grade 10Teacher’s GuideMusic and Arts Appreciation for Young Filipinos

ISBN 978-971-793-022-0

Philippine Copyright 2015by Tawid Publications

All rights reserved. No part of this book may be reproduced or transmitted in any form or by anymeans—electronic or mechanical, including photocopying, recording, or any information storageor retrieval system without prior written permission from the publisher.

Published byTawid Publications102 B. Gonzales St., Xavierville IILoyola Heights, Quezon City 1108Metro Manila, Philippines(+63-2) [email protected]; [email protected]

Editorial Board

Editors:Evelyn F. CabanbanMelissa Y. MoranMilagros P. Valdez, language reader

Coordinator: Evelyn F. Cabanban

Cover Design: Rowena E. CabanbanCover Art and Divider Art: Joe Dureza


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TABLE OF CONTENTS

MUSIC

Quarter I MUSIC OF THE 20th CENTURY ............................................... 1

Impressionism to Modern Nationalism ........................................... 2

Electronic Music and Chance Music................................................. 12

Quarter II AFRO-LATIN AMERICAN AND POPULAR MUSIC.............. 19

African Music and Latin American Music........................................ 20

Jazz, Popular Music, and OPM .................................................... 29

Quarter III CONTEMPORARY PHILIPPINE MUSIC................................. 36

Traditional Composers ............................................................. 37

New Music Composers ............................................................. 46

Song Composers ............................................................. 53

Quarter IV 20th and 21st CENTURY MULTIMEDIA FORMS.................... 61

Opera in the Philippines.................................................................... 62

Ballet in the Philippines .................................................................... 71

Philippine Musical Plays................................................................... 78


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ARTS

Quarter I MODERN ART ............................................................................... ..90

Impressionism ............................................................................... 91Expressionism: A Bold New Movement........................................... 97Abstractionism .................................................................................. 101Abstract Expressionism, Pop Art, Op Art ......................................... 105Installation and Performance Art ................................................... 111

Quarter II TECHNOLOGY-BASED ART ................................................... 117

Computer / Digital Art ................................................... 118Mobile Phone Art / Computer-generated Images ............................. 123Digital Photography ................................................... 127Video Games / Digital Painting / Imaging Videos............................ 131

Quarter III MEDIA-BASED ARTS AND DESIGNIN THE PHILIPPINES ............................................................ 137

Photography ...................................................................................... 138Film ................................................................................................... 143Animation / Comics Illustration / Digital Print Media...................... 147Innovation in Product and Industrial Design..................................... 155

Quarter IV ORIGINAL PERFORMANCEWITH THE USE OF MEDIA ................................................... 162

Philippine Theater and Performing Groups ..................................... 163Culminating Activity: Staging an Original Performance.................. 168

Music Glossary ........................................................................................................ 172Music Pronunciation Guide ..................................................................................... 175

Arts Glossary .......................................................................................................... 176Arts Pronunciation Guide ........................................................................................ 179

Music Bibliography ................................................................................................. 180Arts Bibliography..................................................................................................... 181


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MUSIC

Grade 10Teacher’s Guide


ii

HORIZONS Grade 10Teacher’s GuideMusic and Arts Appreciation for Young Filipinos

ISBN 978-971-793-022-0

Philippine Copyright 2015by Tawid Publications

All rights reserved. No part of this book may be reproduced or transmitted in any form or by anymeans—electronic or mechanical, including photocopying, recording, or any information storageor retrieval system without prior written permission from the publisher.

Published byTawid Publications102 B. Gonzales St., Xavierville IILoyola Heights, Quezon City 1108Metro Manila, Philippines(+63-2) [email protected]; [email protected]

Editorial Board

Editors:Evelyn F. CabanbanMelissa Y. MoranMilagros P. Valdez, language reader

Coordinator: Evelyn F. Cabanban

Cover Design: Rowena E. CabanbanCover Art and Divider Art: Joe Dureza


iii

TABLE OF CONTENTS

MUSIC

Quarter I MUSIC OF THE 20th CENTURY ............................................... 1

Impressionism to Modern Nationalism ........................................... 2

Electronic Music and Chance Music................................................. 12

Quarter II AFRO-LATIN AMERICAN AND POPULAR MUSIC.............. 19

African Music and Latin American Music........................................ 20

Jazz, Popular Music, and OPM .................................................... 29

Quarter III CONTEMPORARY PHILIPPINE MUSIC................................. 36

Traditional Composers ............................................................. 37

New Music Composers ............................................................. 46

Song Composers ............................................................. 53

Quarter IV 20th and 21st CENTURY MULTIMEDIA FORMS.................... 61

Opera in the Philippines.................................................................... 62

Ballet in the Philippines .................................................................... 71

Philippine Musical Plays................................................................... 78


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ARTS

Quarter I MODERN ART ............................................................................... ..90

Impressionism ............................................................................... 91Expressionism: A Bold New Movement........................................... 97Abstractionism .................................................................................. 101Abstract Expressionism, Pop Art, Op Art ......................................... 105Installation and Performance Art ................................................... 111

Quarter II TECHNOLOGY-BASED ART ................................................... 117

Computer / Digital Art ................................................... 118Mobile Phone Art / Computer-generated Images ............................. 123Digital Photography ................................................... 127Video Games / Digital Painting / Imaging Videos............................ 131

Quarter III MEDIA-BASED ARTS AND DESIGNIN THE PHILIPPINES ............................................................ 137

Photography ...................................................................................... 138Film ................................................................................................... 143Animation / Comics Illustration / Digital Print Media...................... 147Innovation in Product and Industrial Design..................................... 155

Quarter IV ORIGINAL PERFORMANCEWITH THE USE OF MEDIA ................................................... 162

Philippine Theater and Performing Groups ..................................... 163Culminating Activity: Staging an Original Performance.................. 168

Music Glossary ........................................................................................................ 172Music Pronunciation Guide ..................................................................................... 175

Arts Glossary .......................................................................................................... 176Arts Pronunciation Guide ........................................................................................ 179

Music Bibliography ................................................................................................. 180Arts Bibliography..................................................................................................... 181


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MUSIC

Grade 10Teacher’s Guide


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Quarter I: Music of the 20th Century

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Quarter I

MUSIC OF THE 20TH CENTURY

CONTENT STANDARDS

The learner demonstrates understanding of...1. The 20th century music styles and characteristic features.

PERFORMANCE STANDARDS

The learner...1. Creates musical pieces using a particular style of the 20th century.

LEARNING COMPETENCIES

The learner...1. Listens perceptively to selected 20th century music.2. Describes distinctive musical elements of given pieces in 20th

century styles.3. Relates 20th century music to its historical and cultural

background.4. Explains the performance practice (setting, composition, role of

composers/performers, and audience) of 20th century music.5. Sings melodic fragments of given Impressionism period pieces.6. Explores other arts and media that portray 20th century elements

through video films or live performances.7. Creates short electronic and chance music pieces using knowledge

of 20th century styles.

From the Department of Education curriculum for MUSIC Grade 10 (2014)


MUSIC Teacher’s Guide

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QUARTER IMUSIC OF THE 20TH CENTURY

Sessions 1, 2, 3, 4, and 5IMPRESSIONISM TO MODERN NATIONALISM

I. SUBJECT MATTER

A. Topic: 20th Century Musical Styles:Impressionism to Modern Nationalism

Sub-topics: ImpressionismExpressionismNeo-ClassicismAvant-GardeModern Nationalism

Composers (Debussy, Ravel, Schoenberg, Bartok, Stravinsky,Prokofieff, Poulenc, Stockhausen, Glass, Cage, Bernstein,Varese, and Gershwin)

B. Materials: DVD/CD recordings, video clips, or recordings from YouTube/internet of Impressionistic, Expressionistic, Neo-Classicist,Avant Garde, and Modern Nationalistic music

CD/VCD/DVD/Karaoke players, computers, laptops,netbooks, tablets, i pads, mobile phones, MP3/MP4 players

Visual arts pictures of Impressionistic, Expressionistic,and Modern Nationalistic paintings

Charts of music scores

C. Reference: Music Grade 10 LM - Pages 3-24

II. LESSON PROPER

A. PRELIMINARYACTIVITY

1. Review: Concepts on previous lessons on Romantic Music.



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2. Motivation

a. Display pictures or posters of the paintings of impressionist painterClaude Monet, expressionist Jose Joya, and post-impressionist VanGogh on the wall or board of the classroom. Let the students goaround to view the pictures.

b. Display and discuss pictures on action painting by Jackson Pollock.c. On a piece of pad paper, have the students describe each of the

pictures in their own words (5 minutes). Collect their works.d. Call some volunteer students to read their descriptions or

observations. Connect these to the new lesson.

B. DEVELOPMENTAL ACTIVITY

1. Have the students listen to CD recordings or watch video clips fromYouTube on Impressionist, Expressionist, Neo-Classicist, Avant-Garde,and Modern Nationalist music, while looking at the pictures of thepaintings.

2. Ask them to analyze the characteristics and styles of each throughdiscussion and sharing of insights.

3. Let them compare the paintings with their counterpart in music, in termsof the elements and characteristics of each.

4. Ask them to share their impressions, experiences, thoughts, and feelingsafter listening to the music and discussing all these.

C. INTEGRATION

1. Integration of Music with Arts, Literature, and History through the useof paintings and music recordings.

2. Role playing - Call on volunteer students to depict the socio-historicalcontext of one of the musical movements studied, Modern Nationalism,which incorporated folk songs and indigenous music.

Infusion of values: Belief in the power of the mind and its ability to achieveone’s goals and control situations.



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D. GENERALIZATION

The 20th century styles of impressionism and expressionism providedcomposers with the opportunity to express their thoughts based on outsideimpressions as well as ideas and expressions based on their inner convictions.

Other forms that emanated included neo-classicism, which is a return to theclassical form and structure using modern harmonies and techniques ofcomposition; avant garde, which deals with the parameters of sound inspace; and Modern Nationalism, which is a combination of nationalistthematic materials with the modern techniques of composition.

III. WHAT TO KNOW

Let the students answer the following:

1. What group of people inspired many of Bartok’s compositions?

2. Which Russian composer created the music for the ballet The Firebird?

3. Who is considered the foremost impressionist?

4. What kind of musical style is attributed to Schoenberg and Stravinsky?

5. Who was the target audience of Prokofieff’s Peter and the Wolf?

6. Give an example of a musical work of each of the composers below.Write the title in the blanks.

Composer Musical WorkDebussy _____________________________________

Ravel _____________________________________

Schoenberg _____________________________________

Stravinsky _____________________________________

Bartok _____________________________________

Prokofieff _____________________________________

Poulenc _____________________________________

Gershwin _____________________________________

Glass _____________________________________

Bernstein _____________________________________



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IV. WHAT TO PROCESS

Listening Activity: Works of 20th Century Composers

1. You will play excerpts of any (one) of the following musical examples:

Debussy – Claire de Lune, La Mer, Children’s Corner SuiteRavel – Miroirs, Sonatine, Daphnis et Chloe, Jeux d’Eau, BoleroSchoenberg – Verklarte Nacht, Violin Concerto, Piano Concerto,

GurreliederBartok – String Quartet no. 4, Allegro, Mikrokosmos, Barbaro,

Music for StringsStravinsky – The Rite of Spring, Petrouchka, The Firebird SuiteProkofieff – Romeo and Juliet (ballet), Piano SonatasGershwin – An American in Paris, Porgy and Bess, Rhapsody in

Blue, Someone to Watch Over MeBernstein – Tonight from West Side Story, Clarinet SonataGlass – Einstein on the Beach, Satyagraha, AkhnatenPoulenc – Concerto for Two Pianos, Dialogues des Carmelites

2. Let the students listen carefully to each excerpt and be able to recognize thedistinct musical style of each composer.

3. Let them choose a composition that they like. Let them write a short reactionpaper on it.2. Listen carefully to each excerpt and be able to recognize thedistinct musical style of each composer.

4. Based on this activity, let the students write a brief profile of the composerof the pieces played in a bond paper to be submitted the following meeting.

V. WHAT TO UNDERSTAND

A. Name the Composer, Title of the Music, Musical Style, and Description

1. After the Listening Activity, you will prepare selected excerpts ofcompositions by Debussy, Ravel, Schoenberg, Bartok, Stravinsky,Prokofieff, Poulenc, Glass, Bernstein, and Gershwin.

2. Divided into four teams, with each team forming a line.

3. As you play a few measures of the first excerpt, let the first student ineach line goes to the board and writes the name of the composer. The



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second student will write the title of the music. The third student willwrite the musical style. Then, the fourth student will write a descriptionof the music in one phrase.

4. The team that writes the correct answers first, scores four (4) points.

5. The same procedure goes on until all the students in the line have hadtheir turn.

6. Assign one student to tally the scores and announce the winners. Theteam with the highest score is the winner. In case of a tie, the first teamto finish is the winner.

7. After proclaiming the winners, the scorer will ask this question: Whatwas the most significant thing that you have learned from this activity?

VI. WHAT TO PERFORM

A. Performance Activity 1:Video Clips / Watching Live /TV Performances

Video Clips

1. Divide the class into four groups by having them count off from 1 to 4.

2. Have the students create and explore other arts (multi-media) that portray20th century musical styles (impressionism, expressionism, jazz, avantgarde) through a 10-minute video clip or MTV using their digital camerasor mobile phones.

3. Let them show and discuss their video works in class.

Watching Live / TV Performances

1. Divide the class into groups. Assign groups who will re-enact whatthey watched. Assign other groups to do the video recording.

2. Have the students watch live performances of musical concerts, ifavailable in their area, or let them watch live concerts recorded on TVor the internet (YouTube).

3. Let them re-enact in class what they have watched.



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4. Let the groups assign members to make a 10-minute audio videopresentation, while the other members re-enact what they have seen onlive concerts and on TV and internet.

5. Have the groups show and discuss their video works in class.

B. Performance Activity 2:Singing or Humming Musical Fragments

1. Play several musical excerpts of selected 20th century composers. andbriefly discuss the title, composer, and musical style of each.

2. Let the class listen carefully to each excerpt and be able to recognizethe distinct musical style of each composer.

3. Have the students sing or hum some melodic fragments (portion only)of any of the following excerpts of 20th century music, together withthe recordings:a. Claude Debussy’s Claire de Luneb. Leonard Bernstein’s West Side Storyc. George Gershwin’s Rhapsody in Blued. Ravel’s Boleroe. Any work of minimalist composers, Philip Glass or Meredith Monkf. Any work of nationalist composers, Erik Satie or Bela Bartok.

4. Based on the melodic fragments of the excerpts that they sang orhummed, they should be able to aurally identify the different selectedworks of the composers of the 20th century by naming the title andcomposer in a random short quiz (5 points).

5. Have the students choose a composition that they like. Ask them towrite a brief profile about the composer, and to also give their personalreactions about the music on a one whole sheet of bond paper.

6. Let them submit it in class the next meeting.

Evaluation Activity: “Drawing Lots”

1. After the above singing or humming activity, prepare a box containingslips of paper with the names of Debussy, Ravel, Gershwin, Bernstein,Glass, Monk, Satie, and Bartok written on them.



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2. Divide the class into four groups. Each group will choose fourrepresentatives who will be assigned as contestants.

3. Each contestant will draw a composer’s name from the box and mustsay three sentences about his compositional technique or musical style,his major contribution to modern music, and one work that shows hiscompositional style.

4. The rest of the groups will evaluate each contestant’s answer by flashinga card or paper marked “CORRECT” or “WRONG.” Each correctanswer earns a point.

5. The group with the highest number of points wins the contest.

C. Performance Activity 3: Film Showing or Video Watching

1. Have the students research on the 20th century musical play West SideStory written by Leonard Bernstein.

2. Instruct them to watch any video clip of West Side Story on the internetor YouTube.

3. Let them write a reaction paper explaining the following elements ofthe performance:a. Settingb. Musical compositionsc. Role of composer and lyricistd. Role of performers (actors, actresses)e. Role of the audience (students)f. Sound and musical directiong. Script / screenplayh. Props, costumes, lighting

4. Divide the class into groups. Ask them these questions: Did you likewhat you watched? Why or why not?

5. Have them explain their answers on a one whole sheet of bond paper.Let each group report their answers in class.

D. Performance Activity 4:Singing Songs from West Side Story



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1. The students may opt to do this as an individual or group activity. Groupswill be divided into four.

2. Let the students listen to the songs Tonight, Maria, Somewhere, andAmerica from video or recordings of West Side Story. Ask them to drawlots for the song to sing.

3. Have them sing and perform their song in class, with or withoutaccompaniment. They may also sing with the recordings.

4. Let those students who are not performing act as judges for theperformance evaluation.

5. Judges will have five placards, score cards, or paper sheets marked:BEST, BETTER, GOOD, FAIR, NEEDS FOLLOW UP.

6. Judges will display a score card after evaluating the performance.

7. One student may be assigned to tabulate the scores after the performance.

8. Select and announce the “Best Performance” award.

E. Performance Activity 5:Live Concert or Recording or Music Video

Let the students choose the activity that they are interested in.

1. Class Concert – Live Performancea. Group the students into four. The first two groups will do the class

concert.b. Have the group leader assign each member to do any of the following:

singing, dancing, choreography, musical directing, playing aninstrument (either as accompaniment to the song or dance, or a soloperformance or as a band). They may use props and costumes, ifneeded.

c. Let the groups perform in class their own original interpretation ofthe songs from West Side Story.

2. Recording or Music Video: Individual or Group Activitya. Have the remaining two groups choose their members.b. Let them record the performance of their classmates using a cassette

recorder, or make a music video using a cellular phone, digitalcamera, or video camera.



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c. Have them play the recorded performance or show the music videoto their classmates. The groups in the video or recording will choosethe “Best Performers.”

d. You will also rate the students’ performance based on the criteriabelow.

e. Choose the “Best Video Presentation” based on creativity (50%)and presentation (50%).

Evaluation of Performing Activities


Rating scale: 5 = Very Good 2 = Poor4 = Good 1 = Needs Follow-up

3 = Fair

Rate scores are based on your performance quality.

1. How well did I perform the songs from WestSide Story? ____________

2 How well can I identify the different musical genresbased on instrumentation, text, and purpose? ____________

3. How well can I describe the characteristics of eachthrough listening to their melody, harmony, rhythm,text, and mass appeal? ____________

4. How well did I participate in the performance ofthe different activities? ____________

Teacher’s Rating of the Students’ Performance

1. Musicianship (60%)a. compositional concepts presented ____________b. musical elements ____________c. technique ____________

2. Ensemble coordination (20%) ____________

3. Ensemble organization (20%) ____________



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VII. EVALUATION


1. What are the styles of 20th century classical music studied in this lesson?

2. Explain briefly how these styles have counterparts in the visual arts,particularly in painting.

VIII. ENRICHMENT ACTIVITIES / ASSIGNMENT

A. Let the students answer the following:

1. Which of the styles that you studied do you like best?

2. Explain your answer in essay form.

B. Encourage the students to search for the following video on YouTube andto view it for additional inights on 20th century music:

Young People’s Concert: What is Impressionismby Leonard Bernstein

They may also search for Bernstein’s other video lectures on music.



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QUARTER IMUSIC OF THE 20TH CENTURY

Sessions 6, 7, and 820TH CENTURY MUSICAL STYLES:ELECTRONIC AND CHANCE MUSIC

I. SUBJECT MATTER

A. Topic: 20th Century Musical Styles: Electronic and Chance Music

Sub-topics : Electronic MusicChance MusicComposers (Cage, Stockhausen, Varese)

B. Materials : DVD / CD recordings /video clips/ recordings from YouTubeor the internet of Electronic and Chance Music


Pictures, slides, video clips of musical gadgets usedespecially in Electronic Music

Sound makers like stones, rice, radios, horns, andkitchen utensils

C. Reference: Music Grade 10 LM. Pages 25-30

II. LESSON PROPER

A. PRELIMINARY ACTIVITY

1. Review: Let the students go over the concepts they have learned aboutImpressionism, Expressionism, Modern Nationalism, Neo-Classicismand Avant-Garde Music.

2. Motivation:a. Hold a “Chance Music Experience.” Ask one student to simulate a

performance concert sitting in front of the piano, keyboard, singingwith a microphone, just holding a guitar, or holding any other musicalinstrument for 3 minutes without playing these.



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b. Discuss the performance and get reactions and observations fromthe class. What did they think? hear? see? feel? touch? smell?

c. Use the experience as a bridge to the topic of the lesson.


1. Let the students listen attentively to CD recordings of Electronic andChance Music.

2. Ask them to define/describe each of the two musical styles introducedin the recordings they listened to.

3. Discuss the history, characteristics, and operations of the two kinds ofmusical styles.

4. Have the students experiment with sounds on materials they had broughtto class to create Chance Music. Divide the class into four or five groups,each with a written plan of what to accomplish.

5. Perform this experiment with a live concert of the two musical styles inthe classroom.

6. Use new electronic equipment (if available) to listen to different soundsfrom the instruments (Example: synthesizer, cassette tape recorder, DVDplayer, karaoke, and others that you may think of).

C. INTEGRATION

1. Integrate the use of electronic equipment, if available, and other materialsthat can produce sound as well as the use of modern technology gadgetsin Music with lessons in Physics, Vocational Education, and Technologyand Livelihood Education (TLE).

2. Show a picture of an action painting by Jackson Pollock and compare itwith chance music.

Infusion of values: Appreciation of the beauty of nature and the realizationof their contribution to the environment.

D. GENERALIZATION

The modern musical tradition experimented with new sounds in classicalmusic through such styles as Electronic Music and Chance Music. Throughthis experimentation, the novelty of sounds emanating from sources otherthan the traditional musical instruments played a major role in thecompositions being created.



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III. WHAT TO KNOW

Have the students answer thed following:

1. Who was the French composer known as the “Father of Electronic Music?

2. What are some of the new musical approaches of Cage?

3. What is meant by musique concrete used by Stockhausen?

4. Give an example of a musical work by Varese, Stockhausen, and Cage.Write your answers on the blanks below.

Composer Musical Work

Varese ___________________________

Stockhausen ___________________________

Cage ___________________________

IV. WHAT TO PROCESS

Listening Activity: Works of 20th Century Composers

1. Play excerpts of any (one) of the following musical examples:

Cage – 4’33"; Metamorphosis, for piano; Five Songs,for contralto soloist and piano; Music for WindInstruments, for wind quintet

Stockhausen – Etude, Electronic STUDIES I and II, Gesang derJunglinge, Kontakte, Momente, Hymnen

Varese – Hyperprism for wind and percussion,Octandre for seven wind instruments and double bass,Intégrales for wind and percussion,Ionisation for 13 percussion players

2. Have the students listen carefully to each excerpt and be able to recognizethe distinct musical style of each composer.

3. Let them choose a composition that they like, and then write a short reactionpaper on the composition and the profile of the composer.



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4. Have them submit this on one whole sheet of bond paper during the nextmeeting. At random, choose students to read their reactions in class.


Name the Composer, Title of the Music, Musical Style, and Description

1. After the Listening Activity, prepare selected excerpts of compositions byStockhausen, Cage, and Varese.

2. Divide the class into four teams, with each team forming a line.

3. As you play a few measures of the first excerpt, have the first student ineach line goes to the board and writes the name of the composer. The secondstudent will write the title of the music. The third student will write themusical style. Then, the fourth student will write a description of the musicin one phrase.


5. The same procedure goes on until all the students in the line have had theirturn.

6. Assign one student to be the scorer. The team with the highest score isthe winner. In case of a tie, the first team to finish is the winner.

7. The scorer will announce the winners and then ask them this question:What was the most significant thing that you have learned from this activity?

VI. WHAT TO PERFORM

A. Activity 1:Experimentation with the Sounds of 20th Century Music Systems

Let the students do the following activity:

1. Chance Music – Put small items inside a bag. Include coins, pens, pins,small bells, and other articles with percussive sounds. Pour the bag’scontents on a hard surface. Then, using a cellphone or other availabledevice, record the sounds that are produced.



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Put the items back in the bag. Then unload the same, while once againrecording the sounds being produced. Note the changes between thetwo sets of sounds recorded.

2. Electronic Music – Create short electronic music pieces using yourknowledge of 20th century musical styles.

B. Performance Activity 2:Original Chance and Electronic Music

Have the students do the following:

Rate scores are based on the elements of music such as rhythm, melodicappeal, harmony and texture, tempo and dynamics, timbre, and overallmusical structure

BEST, BETTER, GOOD, FAIR, NEEDS FOLLOW UP..1. The class will be divided into four groups.

2. Each group will create an original five-minute performance of ChanceMusic and Electronic Music (if available) to be performed in class.

3. Those who are not performing will act as judges for the performanceevaluation.

4. Judges will have five placards, score cards, or paper sheets marked:BEST, BETTER, GOOD, FAIR, NEEDS FOLLOW UP. They willdisplay these score card after evaluating each performance.

5. One student may be assigned to tabulate the scores after the performance.

6. Announce the “Best Performance” award.

7. Have the students answer this question: What was the role of theaudience in the performance of Chance Music? Explain your answers.

C. Performance Activity 3: Group Activity

Video Clips1. Divide the class into four groups by counting off from 1 to 4.



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2. Let each group create and explore other arts (multimedia) that portray20th century musical styles (Chance and Electronic Music) through a10-minute video or MTV using their digital cameras or mobile phones.

3. They may use the internet as reference for their video clips.

4. Let them show and discuss their video works in class.

Watching Live / TV Performances

1. Ask the students to watch live performances of musical concerts onChance and Electronic Music, if available in their area; or to watch liveconcerts recorded on TV or the internet.

2. Let the group leaders choose two or three of their members asvideographers for each group. Have them record and make a 10-minuteaudio video presentation, while the other group members re-enact whatthey have seen on live concerts and on TV.

3. Have them show and discuss their video works in class.

4. Choose the “Best Video Award” using the criteria: Creativity (50%)and Presentation (50%).

Evaluation Activity: “Drawing Lots”

1. After the different performing activities, prepare a box containing slips ofpaper with the names of Cage, Stockhausen, and Varese.

2. Divide the class into four groups. Let each group choose four representativeswho will be assigned as contestants.

3. Let each contestant draw out a composer’s name from the box and saythree sentences about his compositional technique or musical style, his majorcontribution to modern music, and one work that shows his compositionalstyle.

4. Let the rest of the groups evaluate each contestant’s answer by flashing acard or paper marked “CORRECT” or “WRONG.” Each correct answerearns a point.

5. The group with the highest number of points wins the contest.



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Have the students rate themselves based on their performance quality.

Rating scale: 5 = Very Good 2 = Poor4 = Good 1 = Needs Follow-up

3 = Fair

1. How well did I perform chance and electronic music? ____________

2 How well can I identify the different musical genresbased on instrumentation, text, and purpose? ___________

3. How well can I describe the characteristics of eachthrough listening to their melody, harmony, rhythm,text, and mass appeal? ____________

4. How well did I participate in the performance ofthe different activities? ____________

Teacher’s Rating of the Students’ Performance

1. Musicianship (60%)a. compositional concepts presented ____________b. musical elements ____________c. technique ____________

2. Ensemble coordination (20%) ____________

3. Ensemble organization (20%) ____________

VIII. ENRICHMENT ACTIVITY / ASSIGNMENT

Have the students view this video which is available on the BBC and YouTubewebsites:

BBC’s The Story of Music: Age of Rebellion and The Popular Ageby Howard Goodall


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Quarter II: Afro-Latin American and Popular Music

Quarter IIAFRO-LATIN AMERICAN

AND POPULAR MUSIC

CONTENT STANDARDS

The learner demonstrates understanding of...1. Characteristic features of Afro-Latin American music and Popular

music.


The learner...1. Performs vocal and dance forms of Afro-Latin American music and

selections of Popular music.

LEARNING COMPETENCIESThe learner...1. Observes dance styles, instruments, and rhythms of Afro Latin

American and popular music through video, movies and liveperformances.

2. Describes the historical and cultural background of Afro-LatinAmerican and popular music.

3. Listens perceptively to Afro-Latin American and popular music.4. Dances to different selected styles of Afro-Latin American and popular

music.5. Analyzes musical characteristics of Afro-Latin American and popular

music.6. Sings selections of Afro-Latin American and popular music in

appropriate pitch, rhythm, style, and expression.7. Explores ways of creating sounds on a variety of sources suitable to

chosen vocal and instrumental selections.8. Improvises simple vocal/instrumental accompaniments to selected

songs.9. Choreographs a chosen dance music.10. Evaluates music and music performances using knowledge of musical

elements and style.



20


QUARTER IIAFRO-LATIN AMERICAN AND POPULAR MUSIC

Sessions 1, 2, 3, 4, and 5AFRICAN MUSIC AND LATIN AMERICAN MUSIC

I. SUBJECT MATTER

A. Topic: African Music and Latin American Music

Sub-topics: African Music1. Historical and cultural background2. Musical instruments3. Rhythms: Maracatu4. Vocal forms: Blues, soul, spiritual, call and response

Latin American Music1. Historical and cultural background2. Musical instruments3. Vocal and dance forms: Cumbia, tango, cha-cha,

rumba, bossanova, reggae, foxtrot, paso doble

B. Materials: DVD/CD recordings, video clips, and internet recordingsof African and Latin American Music


Photographs of Africa and Latin American culture and art,and African and Latin American musical instruments

C. Reference: Music Grade 10 LM pages 38 - 64

II. LESSON PROPER


1. Review: Concepts of Music of the 20th Century

2. Motivationa. Show video/film clips or any recording from YouTube of excerpts

of African and Latin American Music.


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Example: Lion King for African Music; Rio for Latin American Musicb. Play selected recordings of African and Latin American music.

Examples: folk songs, instrumental music.c. Let the students listen to the music or watch the vido clips. On a

piece of pad paper, let them describe the music that they listened toor watched in their own words. (5 minutes).

d. Call some volunteer students to read their descriptions orobservations. Connect these to the new lesson.


1. Ask the students to listen to CD/DVD recordings or watch MTVs fromYouTube of African and Latin American music.

2. Have them analyze the characteristics and styles of each throughdiscussion and sharing of insights.

3. Group Discussion: Let the students compare their insights with theirclassmates in terms of the elements and characteristics of each.

4. Have them share impressions, experiences, thoughts, and feelings afterlistening to the music and discussing all these.

C. INTEGRATION

Integration of Music with Arts, Literature, and History through the use ofmusic recordings and video clips.

Infusion of values: Belief in the power of the mind and its ability to achieveone’s goals and creativity.

D. GENERALIZATION

Music has always been an important part in the daily life of the African,whether for work, religion, ceremonies, or even communication. Singing,dancing, hand clapping and the beating of drums are essential to many Africanceremonies, including those for birth, death, initiation, marriage, and funerals.Music and dance are also important to religious expression and politicalevents in Africa.


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The music of Latin America is the product of three major influences –Indigenous, Spanish-Portuguese, and African. Sometimes called Latin music,it includes the countries that have had a colonial history from Spain andPortugal.

III. WHAT TO KNOW

1. What are the classifications of African music?

2. What are the characteristics of each classification of African music?

3. Name some African musical instruments under the following categories:a. idiophonesb. chordophonesc. membranophonesd. aerophones

4. Describe how African musical instruments are sourced from the environment.Give examples.

5. What are the different vocal and dance forms of Latin American music?

6. What are the characteristics of each vocal and dance form of Latin Americanmusic?

7. Which type of music was popularized by Bob Marley?

8. Which type of music was popularized by Antonio Carlos Jobim?

9. Who is known as the “Philippines’ Queen of Bossa Nova”?

IV. WHAT TO PROCESS

Class Activity

1. Play one recording of African and Latin American music.

2. Have the students participate in a class discussion on the distinctive featuresand qualities of each musical genre and style.


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Activity 1: Making Improvised African and Latin American InstrumentsIndividual or Group Activity

1. Ask the students to make improvised African and Latin American musicalinstruments using dried vegetables, animal hide, wood, strips of roofingmetal, tin cans, bamboo, and other materials from the environment.

2. Have them create a rhythmic or harmonic accompaniment for any Africanand Latin American songs that they know using these improvised Africanand Latin American instruments. Let them use the internet for reference.

3. Have them answer: “How did you relate in making improvised African andLatin American musical instruments found in the environment?”

Activity 2: Choreography to Express the MusicIndividual or Group Activity

1. Have the students conceptualize a choreography to show some dance stepsset to African and Latin American music.

2. Let them answer: “How does it feel to conceptualize the dance movementsin each music category?”

VI. WHAT TO PERFORM

Group Activities

1. Class Singing Concert – live performance

a. Divide the class into four groups. Ask each group to draw lots to sing asong from one of the following musical genres:

For African Music - Kumbaya, Waka Waka, or MbubeFor Latin-American music - One Note Samba; We are One (Ole Ola)the official song of the 2014 FIFA World Cup held in Brazil, written andco-produced by Pitbull and featuring Jennifer Lopez and Brazilian starClaudia Leitte. Let them research the lyrics and music.

b. Let the students decide among their group members which of them willsing, plan the choreography or movements to accompany the song, play


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a musical instrument, and record the group’s performance on video.

c. Ask the students learn their assigned song, using the lyrics on thefollowing pages.

d. Have them practice it, with the choreography and accompaniment. Then,let them perform in class.

2. Dance Interaction

a. As they performs in class, have the performers invite the other classmembers to join them in the dance movements or choreography thatthey have prepared. They can do a “flash mob” style of dancing.

b. Have the group leaders do an impromptu selection of the “Best DancePerformance” among their classmates.

3. Music Video Award

a. During the class performance, let the assigned group member(s) to recordtheir group’s performance using a mobile phone, tablet, or video camera.

b. Have them simulate a “Music Video Award” event by joining the othergroups in presenting their respective videos in class.

c. Ask the class members choose the “Best Song Performance” based onhow well the group presented their assigned music genre.

KUM BAY YA

Kum Bay Ya is a spiritual song that was first recorded in the1920s. It became a popular standard campfire song in Girl or BoyScouting and during summer camps. The song is originally a simplepetition to God to come and help those in need. This inspiring hymnis heard in many countries of Central Africa. It has great personalmeaning and the singer often creates his own words as he works orpray. The words “Kum Bay Ya” mean “come by here” or “staynearby.”


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KUMBAYA

Kum bay ya, my Lord, kum bay ya;Kum bay ya, my Lord, kum bay ya;Kum bay ya, my Lord, kum bay ya

O Lord, kum bay ya.

Someone’s laughing, my Lord, kum bay yaSomeone’s laughing, my Lord, kum bay yaSomeone’s laughing, my Lord, kum bay ya

O Lord, kum bay ya.

Someone’s crying, my Lord, kum bay yaSomeone’s crying, my Lord, kum bay yaSomeone’s crying, my Lord, kum bay ya

O Lord, kum bay ya.

Someone’s praying, Lord, kum bay yaSomeone’s praying, Lord, kum bay yaSomeone’s praying, Lord, kum bay ya

O Lord, kum bay ya.

Someone’s singing, my Lord, kum bay yaSomeone’s singing, my Lord, kum bay yaSomeone’s singing, my Lord, kum bay ya

O Lord, kum bay ya.

WAKA WAKA (This Time for Africa)FIFA World Cup 2010 Official Anthem

"Waka Waka (This Time for Africa)" or in Spanish, "WakaWaka (Esto es África)" is a song by Colombian singer-songwriterShakira. It feautures South African band, Freshlyground, andpairs an African Colombian rhythm with a Soca-inspired beat.Its lyrics encourage one to aim for one’s goals, like a soldier ona battlefield. The song was used as the official song of the 2010FIFA World Cup held in South Africa.


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WAKA WAKA

You're a good soldier You know it's seriousChoosing your battles We're getting closerPick yourself up This isn’t overAnd dust yourself off The pressure is onAnd back in the saddle You feel itYou're on the frontline But you've got it allEveryone's watching Believe it

ONE NOTE SAMBA

Samba de Uma Nota Só ("One-Note Samba") is a song com-posed by Antonio Carlos Jobim, with Portuguese lyrics by New-ton Mendonça and English lyrics by Jobim. The song title refersto the main melody line, which at first consists of a long series ofnotes of a single tone.

This is just a little sambaBuilt upon a single note

Other notes are bound to followBut the root is still that note

Now this new note is the consequenceOf the one we've just been through

As I'm bound to beThe unavoidable consequence of you

There's so many peopleWho can talk and talk, and talk

And just say nothingOr nearly nothing

I have used up all the scaleI know and at the endI've come to nothing

I mean nothing


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So I come back to my first noteAs I come back to you

I will pour into that one noteAll the love I feel for you

Any one who wants the whole showRe mi fa so la ci do

He will find himself with no showBetter play the note you know

So I come back to my first noteI must come back to you

I will pour into that one noteAll the love I feel for you

Any one who wants the whole showRe mi fa so la ci do

He will find himself with no showBetter play the note you know


Rating scale:5 = Very Good 2 = Poor4 = Good 1 = Needs Follow-up3 = Fair

Ask the students to answer the following:

Rate scores are based on the groups’ performance quality.

1. How well did our group perform our assigned music?a. African music _______________b. Latin American music _______________

2 How well can I identify the different musical genresbased on instrumentation, melody, rhythm, text,timbre, harmony, and purpose? _______________


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3. How well can I describe the characteristics ofeach genre as I listened to the melody,harmony, rhythm, and lyrics? _______________

4. How well did our group perform the differentdance moves for our assigned song? _______________

5. How well can I (individually) sing the followingmusical genres?a. African music _______________b. Latin American music _______________

Teacher’s Rating of the Performance

1. Musicianship (60%) _______________(musical elements, technique)

2. Presentation impact and showmanship (20%) _______________

3. Ensemble coordination and organization (20%) _______________

VII. EVALUATION

Have the students choose a new favorite musical genre. On a one fourth (1/4)sheet of pad paper, have them describe the character and classification of Africanand Latin American music and tell which is their favorite, and why.

VIII. ENRICHMENT / ASSIGNMENT

1. Mini Concert: Divide the class into two groups. Assign African music toone group, and Latin American music to the other group. Have them preparefor a mini concert of their assigned genre in the next meeting.

2. Research Work: Ask them to research or read on jazz, popular music, andOPM and write their personal impression about each genre. Let them submitit next meeting.

3. Video Analysis: Ask the students to watch the animated movies Lion Kingby Disney and Rio by Blue Sky Studios on the internet. Have them write areaction paper regarding the musical forms and styles incorporated in thesemovies.


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QUARTER IIAFRO-LATIN AMERICAN AND POPULAR MUSIC

Sessions 6, 7, and 8JAZZ, POPULAR MUSIC, ANDORIGINAL PILIPINO MUSIC

I. SUBJECT MATTER

A. Topic: JazzPopular MusicOriginal Pilipino Music (OPM)

Sub-topics: Jazz – ragtime, big band, bebop, jazz rockPopular Music – ballad, standard, rock and roll,

alternative music, discoOriginal Pilipino Music (OPM)

B. Materials: DVD/CD recordings / video clips / recordings from YouTubeof Jazz Music, Popular Music, and OPM


Pictures of Jazz, Popular Music, and OPM singers,composers, lyricists

C. Reference: Music Grade 10 LM pages 65 - 87

II. LESSON PROPER


1. Review:a. Define and describe Afrian and Latin American music.b. Give examples of musical instruments of Africa and Latin America.

2. Motivation:a. Show video/film clips/MTVs or any recording from YouTube of

Frank Sinatra, Nat King Cole, The Beatles, Michael Jackson, OneDirection, The Vamps, Ed Sheeran, Taylor Swift, K pop, J pop,Freddie Aguilar, Francis Magalona, and Eraserheads.


30


Or present in class video clips from the animated movie The Princessand The Frog and let the students listen to the background musicwhich is jazz.

b. Elicit responses through individual recitations or plain imitation ofa short song melody.


1. Let the students listen to DVD/CD recordings or watch MTVs fromYouTube of pop, rock, jazz, folk, country and western, rock and roll,hiphop, rap, and classical music.

2. Have them analyze/discuss the characteristics of each genre throughcomparison of their similarities and differenes.

3. Discuss the different aspects of the history of each musical genre inrelation to Social Studies, and describe how each one is influenced bymodern culture, society, and technology.

4. Let the students identify aurally the different genres of today’s music.

5. Call on volunteers to perform two or three of these genres in class.

C. INTEGRATION

1. The lesson on Musical Genres of the 20th Century, dealing with folk andalternative music, as well as the modern idioms of jazz, popular music,and rock, may be integrated with Social Studies in reference to today’ssociety, culture, and technology.

2. Role Playing - Call on volunteer students to depict the socio-historicalcontext of jazz and popular music, specifically rock and roll.

Infusion of values: Ability to adapt to different situations in life and open-mindedness to new ideas.

D. GENERALIZATION

The emergence of 20th century musical genres is a reflection of modernlife, balancing the traditional norms of society with the advances in science


31


and technology. Other than the genres that evolved from the traditionallyclassical styles, the new musical forms that developed included Countryand Western, Jazz, Rock and Roll, Rock, and Alternative Music.

III. WHAT TO KNOW

Ask the students to answer the following:

1. How did the different forms of popular music reflect life in the 20th century?

2. Differentiate the characteristics of Philippine pop, rock, and rap music.

3. What role did media like radio, television, and recordings play in thedevelopment of these different musical genres?

4. Describe the “Manila Sound” in Philippine pop music.

5. Name some well-known OPM performers.

IV. WHAT TO PROCESS

Class Activity: Listening

1. Play one recording of each of the following: Jazz, Popular Music (standards,rock and roll, disco), and OPM (ballad, Pinoy rock, Pinoy rap). Instruct theclass to listen carefully to each recording.

2. Have the students participate in a class discussion on the distinctive featuresand qualities of each musical genre and style.


Activity: Choreography to Express the MusicIndividual or Group Activity

1. Ask the students to conceptualize a choreography to show some dancesteps set to Jazz, Popular (Pop) Music, and OPM.

2. After this activity, ask the students: “How does it feel to conceptualize thedance movements in each music category?”


32


VI. WHAT TO PERFORM

Group Activities

1. Class Singing Concert – live performance

a. Divide the class into four groups.

b. Each group will be asked to draw lots to sing a song from one of thefollowing musical genres:

For Jazz - choose from Someone to Watch Over Me by Ella Fritzgerald(lyrics provided on the next page)or All That Jazz from the movie Chicago

For Pop and OPM - choose your own song

c. Have the students decide among their group members who will do thefollowing:- sing- plan the choreography or movements to accompany the song- play a musical instrument- record the group’s performance on video.

d. They will then learn their assigned song, using the lyrics provided orresearched on the internet. Let them practice it, with the choreographyand accompaniment.

2. Dance Interaction

a. As they perform in class, ask the performers to invite the other classmembers to join them in the dance movements or choreography thatthey have prepared. They can do a “flash mob” style of dancing.

b. Assign the group leaders to do an impromptu selection of the “BestDance Performance” among their classmates.

3. Music Video Award

a. During the class performance, ask the assigned group member(s) torecord their group’s performance using a mobile phone, tablet, or videocamera.


33


Someone To Watch Over Me

There's a saying old, says that love is blindStill we're often told, "Seek and ye shall find"

So I'm going to seek a certain lad I've had in mind

Looking everywhere, haven't found him yetHe's the big affair I cannot forget

Only man I ever think of with regret

I'd like to add his initial to my monogramTell me, where is the shepherd for this lost lamb?

There's a somebody I'm longin' to seeI hope that he, turns out to beSomeone who'll watch over me

I'm a little lamb who's lost in the woodI know I could, always be good

To one who'll watch over me

Although he may not be the man someGirls think of as handsome

To my heart he carries the key

Won't you tell him please to put on some speedFollow my lead, oh, how I need

Someone to watch over me

Won't you tell him please to put on some speedFollow my lead, oh, how I need

Someone to watch over meSomeone to watch over me

b. Tell them to simulate a “Music Video Award” event by joining theother groups in presenting their respective videos in class.

c. Ask the class members to choose the “Best Song Performance” basedon how well the group presented their assigned music genre.


34



Rating scale:5 = Very Good 2 = Poor4 = Good 1 = Needs Follow-up3 = Fair

Rate scores are based on the groups’ performance quality.

1. How well did our group perform our assigned music?a. Jazz _______________b. Popular Music _______________c. OPM _______________

2. How well can I identify the different musical genresbased on instrumentation, melody, rhythm, text,timbre, harmony, and purpose? _______________

3. How well can I describe the characteristics ofeach genre as I listened to the melody,harmony, rhythm, and lyrics? _______________

4. How well did our group perform the differentdance moves for our assigned song? _______________

5. How well can I (individually) sing the followingmusical genres?a. African Music _______________b. Latin American Music _______________

Teacher’s Rating of the Performance

1. Musicianship (60%) _______________(musical elements, technique)

2. Presentation impact and showmanship (20%) _______________

3. Ensemble coordination and organization (20%) _______________


35


VII. EVALUATION

Make the students choose a new favorite musical genre. On a one fourth (1/4)sheet of pad paper, have them describe the character and classification of thisgenre and tell why it is their favorite.

VIII. ENRICHMENT / ASSIGNMENT

A. Research Work

1. Divide the class into three groups. Assign one musical genre to eachgroup: jazz, popular music, and OPM.

2. Have the students research further on their assigned genre and the well-known musicians who composed/performed in this style.

3. Ask the students to briefly describe the life and works of their favoriteartists in this genre.

4. Let them submit their resarch work in the next meeting. Ask 5 studentsto read their work in class.

B. Video Analysis

1. Ask the students to watch the Disney animated movie The Princess andThe Frog on the internet.

2. Have them write a reaction paper regarding the musical forms and stylesincorporated in the movie.



36

Quarter IIICONTEMPORARY PHILIPPINE MUSIC

CONTENT STANDARDS

The learner demonstrates understanding of...

1. Characteristic features of contemporary music.


The learner...

1. Sings contemporary songs.


The learner...

1. Listens perceptively to excerpts of major contemporary works.2. Describes characteristics of traditional and new music.3. Gives a brief biography of selected contemporary Philippine

composers.4. Sings selections of contemporary music with appropriate pitch,

rhythm, style, and expression.5. Explores ways of creating sounds on a variety of sources.6. Improvises simple vocal/instrumental accompaniments to selected

songs.7. Creates a musical on the life of a selected contemporary Philippine

composer.8. Evaluates music and music performances using knowledge of musical

elements and style.



Quarter III: Contemporary Philippine Music

37


Sessions 1,2, and 3TRADITIONAL COMPOSERS

I. SUBJECT MATTER

A. Topic: 20th Century Filipino Composers:Traditional Composers

Sub Topics: Francisco BuencaminoFrancisco SantiagoNicanor AbelardoAntonio MolinaHilarion RubioCol. Antonino BuenaventuraRodolfo CornejoFelipe Padilla de Leon Sr.Lucio San PedroRosendo Santos Jr.Alfredo BuenaventuraRyan Cayabyab

B. Materials: Pictures/slides of composers

Charts with bullet-highlights of the composers’lives and works

Musical scores of some of the composers’well-known compositions

DVD/CD recordings of sample works


C. Reference: Music Grade 10 Learner’s MaterialsPages 89-109



38

II. LESSON PROPER


1. Review: Recall concepts from the past lesson.2. Motivation: As the class listens to the recordings, display on the board

pictures of each of the composers. Choose recordings from past lessonsto serve as a bridge to the new lesson. Display the chart or list ofcomposers from the last lesson.



1. Let the students listen to and watch presentations of the lives, musicalachievements, and works of Francisco Buencamino Sr., FranciscoSantiago, Nicanor Abelardo, Antonio Molina, Hilarion Rubio, Col.Antonino Buenaventura, Rodolfo Cornejo, Felipe Padilla de LeonSr., Lucio San Pedro, Rosendo Santos Jr., Alfredo Buenaventura,and Ryan Cayabyab.

2. Have them watch the following video clips on YouTube:a. Larawan and Mayon Fantasy by Francisco Buencamino performed

by Cecille Licad, international concert pianistb. Nocturne by Nicanor Abelardo performed by Raul Sunico,

international concert pianistc. Serenata by Nicanor Abelardo performed by Renato Lucas, cello

and Raul Sunico, pianistd. Anak Dalita by Francisco Santiagoe. Sa Ugoy ng Duyan by Lucio San Pedro performed by Lea Salongaf. Kumukutikutitap and Kay Ganda ng ating Musika by Ryan Cayabyab

3. Let them express their a) personal reactions or feelings; and b) analysisof the musical elements present about these composers’ works throughgroup discussion. Report the outcome of the group discussion in class.

C. INTEGRATION

The lesson on 20th Century Filipino Composers may be integrated withPhilippine History for a better understanding of the musical styles and theirsources of influence.



39

Infusion of values: Appreciation of our nationalist composers as majorexponents of our cultural heritage.

D. GENERALIZATION

Filipino composers of the 20th century contributed their share in introducinginnovative sounds different from the traditional folk song and kundimanmelodies that we have been accustomed to. Some espoused theimpressionistic style, while others combined ethnic sounds and musicalelements with Western techniques in their compositions.

III. WHAT TO KNOW

1. Discuss the lives and musical contributions of the following 20th centuryFilipino composers:a. Francisco Buencamino Sr. g. Rodolfo Cornejob. Francisco Santiago h. Felipe Padilla de Leon Sr.c. Nicanor Abelardo i. Lucio San Pedrod. Antonio Molina j. Rosendo Santos Jr.e. Hilarion Rubio k. Alfredo Buenaventuraf. Col. Antonino Buenaventura l. Ryan Cayabyab

2. Point out the characteristics of the musical style of the above-mentionedFilipino composers.

Composer Characteristics of the Musical Style

________________ _______________________________________

________________ _______________________________________

________________ _______________________________________

________________ _______________________________________

________________ _______________________________________

________________ _______________________________________

________________ _______________________________________

________________ _______________________________________

________________ _______________________________________

________________ _______________________________________



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IV. WHAT TO PROCESS

A. Listening Activity

1. Play excerpts of recordings of any one composition by the followingFilipino song composers:

Antonio Molina - Hatinggabi, Misa Antoniana, Grand FestivalMass, Ang Batingaw, Kundiman- Kundangan;String Quartet, Kung sa Iyong Gunita,Pandangguhan, Amihan, Awit ni Maria Clara,Larawan Nitong Pilipina

Lucio San Pedro - Sa Ugoy ng Duyan, Suite Pastorale, LahingKayumanggi

Ryan Cayabyab - Misa, Four Poems for Soprano and Piano, TeDeum, Kay Ganda ng Ating Musika, LimangDipang Tao, Da Coconut Nut, Alikabok,Spoliarium, Kumukuti-kutitap

Col. AntoninoBuenaventura - Minuet, Mindanao Sketches, Divertimento for

Piano and Orchestra, Variations and Fugue,and Greetings, Pandanggo sa Ilaw, Princesang Kumintang, Pandanggo ni Neneng

AlfredoBuenaventura - Maria Makiling (1961), Diego Silang(1966),

Prinsesa Urduha (1969); Ang Ating Watawat(1965), Pasko ng Barangay (1964); DakilangLahi (1971), Gomburza (1981), and Rizal, theGreat Malayan Antagonist (1990)

Rodolfo Cornejo - A la Juventud Filipina, Bailes de Ayer, Capriceon a Folksong, Cello Sonata, Ibong Adarna,Kandingan, Malakas at Maganda Overture,Okaka, Oriental Fantasy, Ibong Adarna, PianoConcerto Nos. 1,2,3, Ruby, Song of the Miners

Hilarion Rubio - Bulaklaken, Dance of the Nymphs Rondo,Florente at Laura, Halik, Danza, Ang

Konsyerto (ballet), Ang Magsasaka, BukangLiwayway, Concertino in C (Marimba andpiano), Filipinas Kong Mahal, Hatulan MoAko, Ginintuang Araw, In a Tropcal Sea,

Filipino Youth, Nela, Light, Narra, Mutya ngSilangan



41

Rosendo Santos Jr. - Melinda’s MasqueradeNicanor Abelardo - Nasaan Ka Irog?, Bituing Marikit, Mutya ng

Pasig, Paskong Anong Saya, Cavatina,Kundiman ng Luha, Magbalik Ka Hirang

Francisco Santiago - Kundiman (Anak Dalita), Himutok, Pakiusap,Madaling Araw, Sakali Man, Pilipinas Kong

Mahal, Ano Kaya ang Kapalaran?Felipe de Leon Sr. - Bulaklak Alitaptap, Bagong Lipunan,

Payapang Daigdig, Pasko na Naman, NocheBuena, Kay Tamis ng Buhay, Sapagkat Mahal

KitaFrancisco Buencamino - Harana, Pandanggo ni Neneng, Collar de

Sampaguita, Dulces las Horas, Mayon(Fantasia de Concierto), My Soul’s Lament,Larawan, Mazurka, Boholana, Mi Bandera,Princesa ng Kumintang, Maligayang Bati,Ang Bukang Liwayway, Ang Bagong Balitaw,Himig ng Nayon, Damdamin (Romance),Pizzicato Caprice

2. Let the students listen carefully to each excerpt and recognize thedifferent musical styles of the composers.

3. Have them analyze the music by taking note of the elements of musicpresent: rhythm, melody, tempo, dynamics, texture, harmony, form, andtimbre.

4. Let them choose a composition that they like, and then write a shortreaction paper on it in relation to the musical elements.

B. Evaluation of Listening ActivityName the Composer, Title of the Music, Musical Style, and Description

1. After the above Listening Activity, prepare selected excerpts ofcompositions by Lucio San Pedro, Col. Antonino Buenaventura, AlfredoBuenaventura, Antonio Molina, Rodolfo Cornejo, FranciscoBuencamino, Hilarion Rubio, Rosendo Santos Jr., Francisco Santiago,Nicanor Abelardo, Felipe Padilla de Leon Sr., and Ryan Cayabyab.




42

3. As you play a few measures of the first musical excerpt, the first studentin each line goes to the board and writes the name of the composer. Thesecond student will write the title of the music. The third student willwrite the musical style. Then, the fourth student will write a descriptionof the music in one phrase.



6. Assign one student as the scorer. The team with the highest score is thewinner. In case of a tie, the first team to finish is the winner.

7. The scorer will announce the winners and then ask them this question:What was the most significant thing that you have learned from thisactivity?

V. WHAT TO UNDERSTANDActivity for Solo, Duet, Trio, Quartet, Quintet

1. Have the students compose a simple song, for which they will create boththe lyrics and the music.

2. They may adapt a certain melody from the compositions of the songcomposers that they like, and then write new lyrics to fit the music.

3. They may also include an accompaniment using a guitar, flute, recorder,keyboard, drums, tambourine, maracas, or even improvised musicalinstruments from the environment.

4. Have the students sing their original songs or adaptations in class, either acapella (without accompaniment) or with accompaniment.

5. Ask them this question: What motivated you to compose or adapt the musicof that particular song?

VI. WHAT TO PERFORM

A. Singing Activity

Individual or in groups: Let the students sing any of the compositions ofLucio San Pedro, Col. Antonino Buenaventura, Alfredo Buenaventura,Antonio Molina, Rodolfo Cornejo, Francisco Buencamino Sr., HilarionRubio, Rosendo Santos Jr., Nicanor Abelardo, Francisco Santiago, FelipePadilla de Leon, and Ryan Cayabyab.



43

If individual activity, let the students choose one composition that they willperform. If group activity, let them do the following procedure:

1. Divide the class into four groups.

2. Let the students choose any traditional composer, and research furtheron his compositions, if needed.

3. After researching, have them select one composition that they like bestor they are familiar with. Or they may opt to learn a new song.

4. Let them choose their group’s musical director.

5. To learn and practice their chosen song, the students may bring to class“minus one” music on a CD, mobile phone, or USB.

6. They may add instrumental accompaniment using a guitar, flute, recorder,maracas, tambourine, keyboard, or a combination of any of these.

7. They may also improvise simple vocal or instrumental accompaniment,by exploring ways of creating sounds from a variety of sources or fromthe environment.

8. Let them sing the song in class with their groupmates interpreting themusic with appropriate pitch, rhythm, style, timbre, dynamics, melody,texture, harmony, and expression.

9. After all the performances, choose the “Best Singing Group” based on:- musicianship (musical elements) 60%- presentation impact and showmanship 20%- ensemble coordination and organization 20%

10. Have all the students evaluate by rating each other’s performance andtheir own performance.

Evaluation of Singing Activity

Have the students rate the individuals/groups based on performance quality:

Rating Scale: 5 - Very Good 2 - Poor4 - Good 1 - Needs Follow up3 - Fair



44

Rating the other performers (if individual activity):

1. How well did the performers express the messageof the songs? __________

2. How well did the performers pronouncethe lyrics of the songs? __________

3. How well did the performers sing based onmusical elements and style:a. pitch __________b. rhythm __________c. style __________d. expression __________e. dynamics __________f. melody __________g. timbre __________h. texture __________i. harmony __________

Rating the group members (if group activity):

1. How well did the group members express themessage of the songs? __________

2. How well did the group members sing? __________3. How well did the group members participate? __________

B. Creating and Performing Activities: Musical

1. Divide the class into four groups. Each group will choose a traditionalcomposer who was discussed in class, and research further on his lifeand works.

2. Have the students create a contemporary musical on the life of theirchosen composer. Encourage them to incorporate some of hiscompositions (melodic fragments) in the musical’s story line.

3. For the creation of the musical, have the students improvise simplevocal or instrumental accompaniments (example: guitar, keyboard,percussion) for the songs that they have chosen.

4. Let them also explore ways of creating sounds as accompaniment on avariety of sources or from the environment.

5. Each group will then perform their original musical in class.



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6. Choose the “Best Group Musical Performance” based on:- musicianship (musical elements) 50%- audience impact and showmanship 20%- ensemble coordination and organization 20%- stage discipline or deportment 10%

Evaluation of Creating and Performing Activities: Musical



Rating the other performers/groups:1. How well did the performers express the

message of the musical? __________2. How well did they perform in the musical

based on the following:a. voice quality __________b. expression __________c. stage presence __________d. audience impact __________e. mastery of the musical __________g. musical elements (rhythm, melody, dynamics) __________h. technique __________i. showmanship __________

Rating your own group members:1. How well did your group members express the

message of the musical? __________2. How well did your group members perform? __________3. How well did your group members coordinate with

each other during the performance in the ensemble? __________ 4. How well did your group organize yourselves in

the ensemble? __________

Rating myself:1. How well did I express the message of the musical? __________2. How well did I perform with my group? __________3. How well did I coordinate with the other members

during the performance in the ensemble? __________4. How well did I cooperate in the ensemble? __________



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Sessions 4 and 5NEW MUSIC COMPOSERS

I. SUBJECT MATTER

A. Topic: 20th Century Filipino Composers:New Music Composers

Sub Topics: Jose MacedaLucrecia KasilagRamon SantosFr. Manuel Maramba, OSBJerry DadapFrancisco FelicianoJosefino “Chino” ToledoJonas Baes







II. LESSON PROPER


1. Review: Recall concepts from the past lesson.



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2. Motivation:Choose recordings from past lessons to serve as a bridge to the newlesson. Display the chart of composers begun in the last lesson. As theclass listens to selected excerpts of the recordings, display on the boardpictures of each of the composers.


1. Have the students watch and listen to presentations of the lives, musicalachievements, and works of Jose Maceda, Lucrecia Kasilag, RamonSantos, Fr. Manuel Maramba, OSB, Jerry Dadap, Francisco Feliciano,Josefino “Chino” Toledo, and Jonas Baes.

2. Let them watch the following musical examples on YouTube:a. Udlot-udlot by Jose Maceda performed at Senri Expo Park, Japanb. Huntahang Gitara composed and conducted by Josefino Toledoc. Banwa by Jonas Baesd. Lullaby by Lucrecia Kasilag, National Artist for Musice. Pamugun by Francisco Feliciano, National Artist for Musicf. Alay sa Inang Bayan by Jerry Dadap

3. Ask the students to express their personal reactions or feelings aboutthese composers’ works through group discussion and analysis. Havethem report the outcome of the group discussion in class.

C. INTEGRATION

The lesson on 20th Century Filipino Composers may be integrated withPhilippine History for a better understanding of the styles and their sourcesof influence.


D. GENERALIZATION

Filipino composers of the 20th century contributed their share in introducinginnovative sounds different from the traditional folk song and kundimanmelodies that we have been accustomed to. Some espoused theimpressionistic style, while others combined ethnic sounds and musicalelements with Western techniques in their compositions.



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III. WHAT TO KNOW


1. Research on and describe the characteristics of New Music.

2. Discuss the lives and works of the following 20th century Filipino composersand performers:

a. Jose Maceda e. Jerry Dadapb. Lucrecia Kasilag f. Francisco Felicianoc. Ramon Santos g. Josefino “Chino” Toledod. Fr. Manuel Maramba, OSB h. Jonas Baes

3. Point out the characteristics of the musical styles of the above-mentionedFilipino composers.

Composer Characteristics of the Musical Style

________________ ________________________________________

________________ ________________________________________

________________ ________________________________________

________________ ________________________________________

________________ ________________________________________

________________ ________________________________________

________________ ________________________________________

________________ ________________________________________

IV. WHAT TO PROCESS


1. Play excerpts of recordings of any one composition by the followingFilipino New Music composers:



49

a. Jose Maceda - Ugma-Ugma; Agungan; Pagsamba; Ugnayan;Udlot Udlot

b. Lucrecia Kasilag - Toccata for Percucssion and Winds; The Legendof the Sarimanok; Divertissement and Concertante; Dularawan

c. Josefino “Chino” Toledo - 2nd Og-og; Abe; Ako ang Daigdig;Alitaptap; Aliw-iw; Awiting Bayan; Barasyon; Asia; Kah-non;Humigit Kumulang; Lima; Mi-sa; Missa de gallo; Oyog-Oyog;Musika para sa; Pasyon at Buhay; Pompyang; Pintigan; PilipinoKomiks; Sigaw; Tatluhan; Auit, Ub-og; Ug-nay; Tula-li

d. Francisco Feliciano - Sikhay sa Kabila ng Paalam; Ashen Wings;La Loba Negra; Prelude and Toccata ; Fragments; Yerma; The lifeof wartime Filipino hero, Jose Abad Santos; Transfiguration; MissaMysterium; Pokpok Alimpako; Salimbayan; Umiinog, WalangTinag; Pamugún; Restless

e. Jerry Dadap - The Passionate and the Wild; Mangamuyo I);Mangamuyo II; The Redemption; Five Little Fingers; Tubig ngBuhay; Dakilang Pagpapatawad; Andres Bonifacio, Ang DakilangAnak Pawis; Ang Pag-ibig ng Diyos; Balitaw Nos. 1-7; Lam-angEpic; Lorenzo Ruiz; Chorale Symphonic Ode Nos. 1 and 2; Aniwayat Tomaneg; Song Cycle, Nos. 1-4; Choral Cycle Nos. 1-3; DiyosAma ay Purihin

f. Fr. Manuel Maramba, OSB - Aba!, Sto. Niño; La Naval; LordTakayama Ukon; Awakening; Seven Mansions; Papal Mass forWorld Youth Day, 1995; Mass in Honor of St. Lorenzo Ruiz; Massin Honor of the Sto. Niño; cantatas St. Lorenzo Ruiz, St. Benedict,and St. Scholastica; Three Psalms—A hymn in honor of St. LorenzoRuiz, and the official hymn of the 1996 National EucharisticCongress; Ang Sarswela sa San Salvador; Pugad Lawin; The Virginof Naval; Transfiguration

g. Ramon Santos - Ding Ding nga Diyawa; Nabasag na Banga atIba’t iba pang Pinag-ugpong-ugpong na Pananalita sa WikangPilipino (para sa labing anim na tinig); L’BAD

h. Jonas Baes - WALA (Nothingness); DALUY (flow); IBO-IBON (Birdwoman); SALAYSAY; PATANGIS-BUWAYA;PANTAWAG; BASBASAN (Blessing)



50

2. Let students listen carefully to each excerpt and be able to recognizethe different musical elements and styles of the composers.

3. Have them analyze the music focusing on the elements of music present,such as rhythm, melody, tempo and dynamics, texture and harmony,form, and timbre.

4. Let them choose a composition that they like and write a reaction paperon it.

B. Evaluation of Listening Activity:Name the Composer, Title of the Music, Musical Style, and Description

1. After the above Listening Activity, prepare selected excerpts of thecompositions that the students had listened to.


3. As you play a few measures of the first excerpt, the first student in eachline goes to the board and writes the name of the composer. The secondstudent will write the title of the music. The third student will write themusical style. Then, the fourth student will write a description of themusic in one phrase.



6. One student will be assigned as the scorer. The team with the highestscore is the winner. In case of a tie, the first team to finish is the winner.

7. The scorer will announce the winners and then ask them this question:What was the most significant thing that you have learned from thisactivity?


1. Divide the class into groups. Let them perform in solo, duet, trio, quartet,and quintet.



51

2. Each group will compose a simple song incorporating indigenous musicand folksongs; or they may adapt a certain melody from the compositionsof the New Music composers that they like.

3. Have them write new lyrics to fit the music, and include an accompanimentusing guitar, flute, recorder, keyboard, percussion, or improvised musicalinstruments.

4. If appropriate, encourage them to choreograph dance movements to interpretthe music of the composer that they have chosen.

5. All the groups will then perform their composition or song adaptation inclass, either a capella (without accompaniment) or with accompaniment.

6. Have the students answer the following: “How did you feel in incorporatingour indigenous music in your composition or song adaptation?” Have themsubmit this paper in class next meeting.

VI. WHAT TO PERFORM

Creating and Performing Activities: Musical

1. Divide the class into four groups. Each group will choose a traditionalcomposer who was discussed in class, and research further on his life andworks.

2. Based on their research, have them create a contemporary musical on thelife of their chosen composer, incorporating some of his compositions(melodic fragments) in the musical’s story.

3. Encourage them to improvise simple vocal or instrumental accompaniments(example: guitar, keyboard, percussion) to the songs that they have chosen.

4. For the creation of the musical, ask them to explore ways of creating soundsas accompaniment on a variety of sources or from the environment.

5. All the groups will then perform their musical in class.




52




Rating the other performers/groups:

1. How well did the performers express themessage of the musical? __________

2. How well did the performers sing and act inthe musical based on the following:a. voice quality __________b. expression __________c. stage presence __________d. audience impact __________e. mastery of the musical __________f. pitch __________g. rhythm __________h. style __________i. acting __________

Rating your own group members:

1. How well did your group members express themessage of the musical? __________

2. How well did your group members perform? __________3. How well did your group members participate? __________

Rating myself:

1. How well did I express the message of the musical? __________2. How well did I perform with my group? __________3. How well did I coordinate with the other members

during the performance in the ensemble? __________ 4. How well did I cooperate in the ensemble? __________



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Sessions 6, 7, and 8

SONG COMPOSERS

I. SUBJECT MATTER

A. Topic: 20th Century Filipino Composers:Song Composers

Sub Topics: Levi CelerioConstancio de GuzmanMike Velarde Jr.Ernani CuencoRestie UmaliGeorge CansecoAngel PeñaLeopoldo SilosSantiago Suarez







II. LESSON PROPER




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2. Motivation:As the class listens to the recordings, display on the board pictures ofeach of the composers. Choose recordings from past lessons to serve asa bridge to the new lesson. Display the chart of composers in the lastlesson.



1. Let the students watch and listen to presentations of the lives, musicalachievements, and works of Levi Celerio, Constancio de Guzman, MikeVelarde Jr., Ernani Cuenco, Restie Umali, George Canseco, Angel Peña,Leopoldo Silos, Santiago Suarez

2. Have them watch the following video clips on YouTubea. Bayan Ko by Constancio de Guzman as performed by Lea Salongab. Bato sa Buhangin by Ernani Cuenco, National Artist for Music as

performed by Raul Sunico, international concert pianistc. Hanggang sa Dulo ng Walang Hanggan by George Canseco as

performed by Raul Sunico, international concert pianistd. Maestro Angel Peña, The Trailblazer of Pinoy Jazz (Documentary)e. Levi Celerio on Ryan Cayabyab Show; ASAP 18 presents The Music

of Levi Celerio; Regine Velazquez-Levi Celerio OPM Classics withRyan Cayabyab

f. Dahil sa Iyo by Mike Velarde Jrg. Saan Ka Man Naroroon by Restie Umalih. Dahil sa Isang Bulaklak by Leopoldo Silos Jr.i. Bakya Mo Neneng by Santiago Suarez as performed by the Mabuhay

Singers

3. Let the students express their personal reactions or feelings about thesecomposers’ works through group discussion and analysis. Then, havethem report the outcome of the group discussion in class.

C. INTEGRATION

The lesson on 20th Century Filipino Composers may be integrated withPhilippine History for a better understanding of the styles and their sourcesof influence.



55


D. GENERALIZATION

Filipino composers of the 20th century contributed their share in introducinginnovative sounds different from the traditional folk song and kundimanmelodies that we have been accustomed to. Some espoused theimpressionistic style, while others combined ethnic sounds and musicalelements with Western techniques in their compositions. Some adopted thekundiman as their form in composing their music.

III. WHAT TO KNOW

1. Discuss the lives and musical contributions of the following 20th centuryFilipino song composers

a. Levi Celerio f. George Cansecob. Constancio de Guzman g. Angel Peñac. Mike Velarde Jr. h. Leopoldo Silos Sr.d. Ernani Cuenco i. Santiago Suareze. Restie Umali

2. For each of the composers named above, ask the students to give the titleof any of his compositions.

Composer Title of Any Composition

________________ ________________________________________

________________ ________________________________________

________________ ________________________________________

________________ ________________________________________

________________ ________________________________________

________________ ________________________________________

________________ ________________________________________

________________ ________________________________________

________________ ________________________________________



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IV. WHAT TO PROCESS


1. Play excerpts of recordings of any of the following works by Filipinosong composers:

a. Levi Celerio - Ang Pipit, Sa Ugoy ng Duyan, Misa de Gallo,Itik-itik (folk song), Tinikling (folk song), AngPasko ay Sumapit

b. Constanciode Guzman - Bayan Ko, Babalik Ka Rin, Ang Tangi Kong

Pag-ibig, Birheng Walang Dambana,Maalaala Mo Kaya, Sa Piling Mo, Ang LangitKo’y Ikaw

c. Mike Velarde Jr. - Buhat, Ikaw, Bituing Marikit, Minamahal Kita,Dating Sumpaan, Dalisay, Eternally Yours,Gabi at Araw, Dahil sa Iyo

d. Ernani Cuenco - Nahan; Kahit na Magtiis; Diligin Mo ngHamog ang Uhaw na Lupa; Pilipinas, InangBayan; Isang Dalangin; Kalesa; Gaano KoIkaw Kamahal; Bato sa Buhangin

e. Restie Umali - Saan Ka Man Naroroon, Alaala ng Lumipas,Ang Pangarap Ko’y Ikaw, Sa Libis ng Barrio,Di Ka Nag-iisa, Paano Kita Lilimutin

f. George Canseco - Ikaw, Kailangan Kita, Dito Ba, Hiram, Langisat Tubig, Hanggang sa Dulo ng WalangHanggan, Sinasamba Kita, KastilyongBuhangin, Minsan pa nating hagkan angNakaraan, Ngayon at Kailanman, SaanDarating ang Umaga, Sana Bukas Pa angKahapon, Dear Heart, Gaano Kadalas angMinsan

g. Angel Peña - Bagbagtulambing, Igorot Rhapsody, Concertofor Double Bass and Orchestra, Concerto forJazz Quartet and Orchestra

h. Leopoldo Silos Sr. Dahil sa Isang Bulaklak, Hindi Kita Malimot,Aling Kutsero, Ay Anong Saklap, Basta’tMahal Kita, Diyos Lamang ang Nakakaalam,Hindi ko Malilimutan, Lagi Kitang Naaalala,Langit at Lupa, Halina Halina, Lihim na Pag-ibig, Mundo Ma’y Mawala



57

i. Santiago Suarez - Ligaya Ko, Pandanggo ni Neneng, DungawinMo Hirang, Bakya Mo Neneng, Caprichosa,Sa Libis ng Nayon, Harana, Kataka-taka,Labandera Ko, Lakambini, Kamia, Ikaw angBuhay Ko!, Kay Lungkot Nitong Hating-Gabi,Mutya Niyaring Puso

2. Have the students listen carefully to any musical excerpt and be able torecognize the different musical styles of the composers.

3. Instruct them to analyze the music that they heard by noting the elementsof music present: rhythm, melody, tempo and dynamics, texture andharmony, form, and timbre.

4. Let them choose a composition that they like and write a brief reactionpaper.

5. Have them answer “Why did you choose that composition?”

B. Evaluation of Listening ActivityName the Composer, Title of the Music, Musical Style, and Description

1. After the above Listening Activity, prepare selected excerpts ofcompositions by the following: Celerio, De Guzman, Velarde, Cuenco,Umali, Canseco, Peña, Silos, and Suarez.


3. As you play a few measures of the first excerpt, the first student in eachline goes to the board and writes the name of the composer. The secondstudent will write the title of the music. The third student will write themusical style. Then, the fourth student will write a description of themusic in one phrase.



6. One student will be assigned as the scorer. The team with the highestscore is the winner. In case of a tie, the first team to finish is the winner.

7. The scorer will announce the winners and then ask them this question:



58

“What was the most significant thing that you have learned from thisactivity?”


1. Let the students compose a simple song, for which they will write the lyricsand the music.

2. They may also choose to adapt a certain melody from the compositions ofthe song composers that they like, and write new lyrics to fit the music.

3. They may include an accompaniment using guitar, flute, recorder, keyboard,drums, tambourine, maracas, or improvised musical instruments from theenvironment.

4. Encourage them to add some dance movements or choreography to interpretthe music.

5. They will then perform in class their composition or song adaptation, aswell as the dance movements, if appropriate.

6. They may sing their song a capella (without accompaniment) or withaccompaniment.

7. After the class performances, ask the students: “What motivated you tocompose an original song or to adapt the music of an existing song?” “Howdid you feel about this activity?”

VI. WHAT TO PERFORM

A. Singing Activity: Song Medley

Individual or in groups: Sing any of the compositions of Celerio, DeGuzman, Velarde, Cuenco, Umali, Canseco, Peña, Silos, and Suarez.

For group work, have the students do the following:

1. Let the students choose any three songs by the above composers thatthey like best or that they are familiar with. Or they may opt to learn anew song. Have them research further on the compositions, if needed.



59

2. Each group will choose their musical director and they will create athree- to five-minute medley of their chosen songs.

3. To learn and practice the songs, they may bring “minus one” music on aCD, or from their mobile phones or USB.

4. They may add instrumental accompaniment using a guitar, flute, recorder,maracas, tambourine, or keyboard. Or they may improvise simple vocalaccompaniment.

5. Have them explore ways of creating sounds as instrumentalaccompaniment to the song from varied sources or from the environment.

6. All the groups will then perform their song medleys in class, interpretingthe music with appropriate pitch, rhythm, style, timbre, dynamics,melody, texture, harmony, and expression.

7. Choose the “Best Singing Group” based on the following criteria:- musicianship (musical elements) 60%- presentation impact and showmanship 20%- ensemble coordination and organization 20%

B. Creating and Performing Activities: Musical

1. Divide the class into four groups. Each group will choose one songcomposer discussed in class, and research further on his life and works.

2. Each group will then create a contemporary musical on the life of theirchosen composer, incorporating some of his compositions (melodicfragments) in the musical’s story.

3. Let them improvise simple vocal or instrumental accompaniments(example: guitar, keyboard, percussion). Have them also explore waysof creating sounds as accompaniment from varied sources or from theenvironment.

4. All the groups will then perform their musicals in class.




60




Rating the other performers/groups:

1. How well did the performers express themessage of the musical? __________

2. How well did the performers sing and actin the musical based on the following:a. voice quality __________b. expression __________c. stage presence __________d. audience impact __________e. mastery of the musical __________g. musical elements (rhythm, melody, dynamics) __________h. technique __________i. showmanship __________j. acting __________


1. How well did your group members express themessage of the musical? __________

2. How well did your group members perform? __________3. How well did your group members coordinate with

each other during the performance in the ensemble? __________4. How well did your group organize yourselves in

the ensemble? __________

Rating myself:

1. How well did I express the message of the musical? __________2. How well did I perform with my group? __________3. How well did I coordinate with the other members

during the performance in the ensemble? __________4. How well did I cooperate in the ensemble? __________


Quarter IV: 20th and 21st Century Multimedia Forms

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Quarter IV20TH AND 21ST CENTURY

MULTIMEDIA FORMS

CONTENT STANDARDS

The learner demonstrates understand of...

1. Characteristic features of 20th and 21st century opera, musical play, ballet,

and other multimedia forms.2. The relationship among music, technology, and media.


The learner…

1. Performs selections from musical plays, ballet, opera in a satisfactory level ofperformance.

2. Creates a musical work using media and technology.


The learner…1. Describes how an idea or story in a musical play is presented in a live

performance or video,2. Explains how theatrical elements in a selected part of a musical play are

combined with music and media to achieve certain effects,3. Sings selections from musical plays and opera expressively;4. Creates/improvises appropriate sounds, music, gestures, movements, and

costume using media and technology for a selected part of a musical play;5. Presents an excerpt from a 20th or 21st century Philippine musical and

highlights its similarities and differences to other Western musical plays.




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Quarter IV20TH AND 21ST CENTURY MULTI-MEDIA FORMS

Sessions 1, 2, and 3OPERA IN THE PHILIPPINES

I. SUBJECT MATTER

A. Topic: 20th and 21st Century Multi-Media Forms

Sub Topics: Philippine Operaa) La Loba Negrab) Noli Me Tangerec) El Filibusterismo

B. Materials: Pictures/slides of performances of opera, ballet,musical plays, and Broadway musicals

Charts with bullet-highlights of the works

Musical scores




II. LESSON PROPER



2. Motivation:As the class listens to the recordings of contemporary Philippinecomposers, display on the board pictures of each of the composers.Choose recordings from past lessons to serve as a bridge to the newlesson. Display the chart of composers taken up in the last lesson.



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1. Let the students watch and listen to presentations or performances ofPhilippine opera on a DVD.

2. Have them watch the following performances on YouTube:

a. Noli Me Tangere, The Operab. El Filibusterismo, The Operac. An excerpt from the opera La Loba Negra performed by Alegria

Ferrerd. Opera Medley: 100 Yearsof World Class Music (UP Centennial)e. Le Donna e Mobile, an aria from the opera Rigoletto by Verdi,

Brindisi, an aria from the opera La Traviata by Verdi performed byThe Three Tenors - Luciano Pavarotti, Placido Domingo, and JoseCarreras

f. Wedding March from the opera A Midsummer Night’s Dream byMendelssohn

g. Triumphal March from the opera Aida by Verdi

3. After watching and listening to the opera, let the students express theirpersonal reactions or feelings about these works through groupdiscussion and analysis. Report the outcome of the group discussion inclass.

C. INTEGRATION

The lesson on 20th and 21st Century Multi -Media Forms may be integratedwith Philippine History for a better understanding of the styles and theirsources of influence.

Infusion of values: Appreciation of our nationalist composers, lyricists, storytellers, and performers as major exponents of our cultural heritage.

D. GENERALIZATION

The opera is both an art form and a musical form. The singers andmusicians perform a dramatic work combining text (called a libretto) and themusic usually in an elaborate theatrical setting. It incorporates many of theelements of theater, such as acting, scenery, costumes, and sometimes



64

includes dance. The performance is typically given in an opera house, culturalcenter, theater, or auditorium.

The performance is usually accompanied by an orchestra or a smaller musicalensemble. The dialogue is mostly sang and not spoken. Opera is part of theWestern classical music form and tradition. It started in Italy at the end ofthe 16th century and soon spread through the rest of Europe.mpositions.

III. WHAT TO KNOW


1. How did Philippine opera reflect life in the 20th century?

2. Discuss the characteristics of Philippine opera in relation to other multi-media forms. Explain your answers.

3. What role did media and social media play in the development of thesemusical genres specifically the radio, television, video, and recordings?

4 Explain how theatrical elements in a selected part of an opera or musicalplay are combined with music and media to achieve certain effects.

5. Describe how an idea or story in a musical play is presented in a liveperformance.

6. Describe how an idea or story in an opera or musical play is presented in amusic video.

IV. WHAT TO PROCESS

Listening and Singing Activities

You may let the class do these listening and singing activities separately orcombined together, depending on the allotment of time.

A. Listening Activity: Philippine Opera

1. Divide the class into groups. Each group will be assigned to researchon the lyrics of Philippine opera .

2. Play musical excerpts from the arias of Noli Me Tangere, La Loba Negra,and El Filibusterismo.



65

3. Let the students listen to the selections carefully to appreciate the music.

4. Let them analyze the music and take note of the elements of musicpresent, such as rhythm, melody, tempo and dynamics, texture andharmony, form, and timbre.

5. Let them choose a composition that they like and describe the lyricalcontent and message that the piece wants to convey.

6. Let them write a reaction paper on their impression of the opera and itsmessage.

Evaluation of Listening Activity: Philippine Opera

Let the students answer the following rating questions:

Rating scale: 5 = Very Good 2 = Poor4 = Good 1 = Needs Follow-up3 = Fair

Rate scores are based on melodic appeal, message content, singability,and text relevance to present day society.

1. How well did I listen to the aria from a Philippineopera? ___________

2. How well did I listen to the vocal interpretationsof songs from Philippine opera? ___________

3. How well can I identify songs from Philippine opera?___________

4. How well can I describe the qualities ofPhilippine opera through listening? ___________

B. Singing Activity: Philippine Opera

1. Divide the class into groups. Each group will be assigned to learn andsing in class an aria from any of the Philippine opera discussed in class.

Suggested arias:



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La Loba Negra - Napakahaba na ng Gabi

Noli Me Tangere - Kay Tamis ng BuhayHuwag Mo Akong PabayaanAwit ng Gabi ni Sisa

El Filibusterismo - (search on the internet)

2. Let them practice singing the assigned aria with their group mates, usingthe lyrics that they had researched.

3. Have each group sing their aria expressively in class, together with arecording on CD or from the internet (YouTube). Time allotment foreach group is five (5) to ten (10) minutes only.

4. The group members may add choreography or some simple movementsor actions to interpret the aria. They may also use musical instrumentsas accompaniment, and wear improvised costumes, if applicable.

5. Evaluate the performances based on:- musicianship (musical elements) 50%- audience impact 20%- stage presence 20%- stage discipline and deportment 10%

6. Announce the “Best Performance Award.”

Enrichment Activities

Watch Live / TV Performances1. Have the students watch live performances of Philippine opera that had

been discussed in class (if available in their area), or let them watch liveperformances on TV or the internet.

2. Let them watch a live performance of a Western opera (ex: Rigoletto, Tosca,La Traviata, Aida) or watch video clips or excerpts on TV or the internet.

3. They will then write a reaction paper on what they have watched.

Video Clips1. Divide the class into four groups.2. Together with their group mates, have the students explore how multi-

media arts can be used to portray 20th century musical styles (specificallyPhilippine opera) through a five-minute video clip using their digital camerasor mobile phones.



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3. They may use the internet as their reference.4. Have them show and discuss their video works in class.

V. WHAT TO UNDERSTANDGroup Activity

1. Divide the class into groups. Instruct each group to brainstorm amongthemselves on Philippine opera.

2. Let them create a scene inspired by one of the Philippine operas they havestudied, using media and technology. They may incorporate elements fromlocal folktales, legends, history, biographies of heroes, and customs andtraditions.

3. For the music, they may compose their own aria or they may use or adaptthe melody of existing songs such as folksongs, indigenous music of theirarea, or a Western aria. Then, let them write their own libretto suited to themelody for the aria adaptation.

4. Instruct them to create or improvise appropriate sounds, music, gestures,movements, and costumes using media and technology.

5. After this Performance Activity, let them answer the following: What insightsdid I gain from this activity?

VI. WHAT TO PERFORMCreating and Performing Activities

A. Live Performance of a Philippine/Original/Western Opera Excerpt

1. Divide the class into groups. Each group will choose an aria to performfrom any one of the following:a) a Philippine opera (La Loba Negra, Noli Me Tangere,

El Filibusterismo)b) the scene that they have previously createdc) an excerpt from a Western opera (Rigoletto, Tosca,

La Traviata, Aida)

2. Instruct them to create or improvise appropriate sounds, music, gestures,movements, and costumes using media and technology for their selectedopera excerpt. Encourage them to be creative and improvise as needed.



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3. All the groups will present the opera excerpt or scene they have prepared,either using musical instruments as accompaniment or a capella (withoutaccompaniment).

4. Evaluate the performances based on:- musicianship (musical elements) 50%- audience impact 20%- stage presence 20%- stage discipline and deportment 10%

5. Announce the “Best Group Performance Award.”

6. After the performances, ask the students to discuss the differences theyhave observed and experienced between Philippine opera and westernopera.

B. Recording or Music Video

1. Divide the class into groups and let the students choose a group leaderwho will assign 1 or 2 members to record the performance of theirgroup using a cassette recorder or they make a music video using theirmobile phone, digital camera, or video camera.

2. Let them play the recorded performance or show the music video totheir classmates.

3. Choose the “Best Video.”

Evaluation of the Performance Activity: Philippine Opera

You may also ask the students to evaluate the performance, using a rating scale:Good, Better, Best

Rate scores are based on the group’s performance in terms of intonation, soundquality, expression, mastery of the piece, and stage deportment.

1. Have a performance evaluation of how well each group sang any of the ariafrom Philippine opera. The rest of the groups will serve as the judges.

2. Each group will have any of the following: three placards, score cards, orpaper sheets marked: GOOD, BETTER, BEST



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3. The judging groups will raise their evaluation score cards after theperformance of each group. One student will be assigned to tabulate andtally the results.

4. After the performance of all groups, the teacher will announce the winninggroup with the “Best Performance” award.

Evaluation of Creating and Performing Activities: Philippine Opera

Let the students evaluate the performances of the individuals/groups/themselves.

Rating Scale: 5 - Very Good 2 - Poor4 - Good 1 - Needs Follow Up3 - Fair

Rate scores are based on the performance quality.

Rating the other performers / groups:1. How well did the performer/s express the

message of the musical? _______________2. How well did the performer/s act based

on the following:a. voice quality _______________b. expression _______________c. stage presence _______________d. audience impact _______________e. mastery of the musical _______________

Rating your own group members:1. How well did the performer/s express the

message of the musical? _______________2. How well did your group members perform? _______________3. How well did your group members participate? _______________

Rating yourselves:1. How well did I perform with my group

the Philippine opera? _______________2 How well can I identify the opera based on

instrumentation, text, and purpose? _______________3. How well can I describe the characteristics of

opera through listening and singing to theirmelody, harmony, rhythm, text, and mass appeal?_______________



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VII. ENRICHMENT / ASSIGNMENT

1. Have the students listen to selected aria from a Philippine opera: La LobaNegra, Noli Me Tangere, and El Filibusterismo which were discussed inclass.

2. Let them also listen to arias of other Philippine operas: Spoliarium andWhy Flowers Bloom in May by librettist Fides Cuyugan Asensio.

3. Write a brief reaction paper about it. Research further on the topic, if needed.



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Quarter IV20TH AND 21ST CENTURY MULTIMEDIA FORMS

Sessions 4 and 5BALLET IN THE PHILIPPINES

I. SUBJECT MATTER


Sub Topics: Ballet in the Philippinesa) Lola Basyangb) Rama Hari



Musical scores




II. LESSON PROPER


1. Review: Recall concepts from the past lessons.

2. Motivation:

As the class watches the performances of Philippine ballet (Lola Basyangand Rama Hari) and Western ballet (Swan Lake, Nutcracker Suite, andGiselle), display on the board pictures of each of the ballet performancesboth Philippine and Western ballet.



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1. Let the students watch performances of Philippine ballet or Westernballet on a DVD.

2. Or they may watch the following ballet performances and recordedinterviews/documentaries on YouTube:a. Sana’y Wala nang Wakas performed by Lisa Macuja, prima ballerina

and Coke Bolipata, violinistb. Swan Lake performed by Lisa Macujac. Lisa Macuja-Elizalde, Prima Ballerina (documentary)d. Moriones performed by Ballet Philippinese. Karen Davila interviews Lisa Macujaf. Swan Lake performed by Margot Fonteyn and Rudolf Nureyev

3. After watching and discussing the presentations, let the students addthese titles of Philippine ballet or Western ballet to the chart listing thetitle of works, composers, visual aids, country, and style.

4. Have them express their personal reactions or feelings about these worksthrough group discussion and analysis. Then, report the outcome of thegroup discussion in class.

C. INTEGRATION

The lesson on 20th and 21st Century Multi Media Forms may be integratedwith Philippine History , Literature, Art, and Music for a better understandingof the styles and their sources of influence.

Infusion of values: Appreciation of our nationalist composers, story tellers,and performers as major exponents of our cultural heritage expressed throughballet.

D. GENERALIZATION

Filipino ballets vividly present folktales based on local fables. Examples areLola Basyang as well as epics from neighboring regions, like India’sRamayana. Highly communicative movements and steps dramatize theactions in the respective stories. The colorful sets and costumes add to theglitter and attraction of the productions.



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III. WHAT TO KNOW


1. How did the different forms of Philippine ballet reflect life in the 20th century?

2. Discuss the characteristics of Philippine ballet and other multi-media forms.Explain your answers.

3. What role did media like radio, television, and recordings play in thedevelopment of Philippine ballet?

4. Discuss the relationship among music, technology and media in thedevelopment of Philippine ballet. Explain your answers.

5. Explain how theatrical elements in a selected part of ballet are combinedwith music, visual arts, and media to achieve certain effects.

6. Describe how an idea or story in a ballet is presented in a live performanceor video presentation.

7. How is Philippine ballet relevant to life in the 20th and 21st century inrelation to media and technology?

8. Discuss some characterristics of ballet that made it popular.

IV. WHAT TO PROCESS

Listening Activity: Music for Ballet

1. Play music recordings from Philippine ballet or Western ballet.

2. Let the students listen carefully to the recordings and let them analyze themusic Let them take note of the elements of music present, such as rhythm,melody, tempo and dynamics, texture and harmony, form, and timbre.

Although not as extensively explored as the other performing genres forlocal adaptation, Filipino ballet productions have evoked wide enthusiasmfrom people of all ages. They have been added to the repertory of Philippinedance companies to supplement the Western classical ballets, such asNutcracker Suite, Swan Lake, Giselle, and Sleeping Beauty.



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3. Let them express a visual figure or visual interpretation for a particularpiece that they like.

Evaluation of Listening Activity: Music for Ballet



Rate scores are based on melodic appeal and suitability for the ballet’s theme andstory line.

1. How well did I listen to the musical interpretationsof Philippine or Western ballet? _____________

2. How well can I identify music from Philippine orWestern ballet? _____________

3. How well can I describe the qualities ofballet music through listening? _____________


Group Activity: Compose Simple Ballet Accompaniment

1. Divide the class into groups.

2. Let each group compose a simple song or solo musical instrumentation thatwill be used for simple ballet steps.

3. They may compose their own original song or they may use or adapt themelody of existing songs (Ex: folksongs, indigenous music of your area,pop, classical, ballet music, Broadway, and OPM).

4. Then, let them write their own lyrics suited to the melody for the songadaptation

5. Encourage them to include an accompaniment (Ex: guitar, flute, violin,keyboard, percussion instruments) or improvised musical instruments liketambourines, maracas, triangle, and others that they may think of.

6. Have them create or improvise appropriate sounds, music, gestures,movements, and costumes using media and technology.



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7. They will then perform their music composition with simple ballet steps,movements, or choreography.

8. After this activity, let them answer the following question: “What insightsdid I gain from this activity?”

VI. WHAT TO PERFORMCreating and Performing Activities

A. Live Performance of Ballet

1. Divide the class into groups. Have each group choose to perform simplesteps and choreography from any Philippine ballet, from the ballet thatthey have previously created, or an excerpt from any Western ballet.

2. Let them create or improvise appropriate sounds, music, gestures,movements, props, and costumes using media and technology for aselected part of the ballet.

3. Let them perform the short ballet in class, using musical instruments asaccompaniment for their music works for the ballet.

4. Evaluate the group performances based on:- creativity 40%- audience impact 20%- stage presence 20%- stage discipline and deportment 20%



1. Divide the class into groups and let the students choose a group leaderwho will assign 1 or 2 members to record the performance of theirgroup using a cassette recorder. Or they make a music video using theirmobile phone, digital camera, or video camera.

2. Have all the groups play the recorded performance or show the musicvideo to their classmates.




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Enrichment Activity: Film Viewing

1. Let the students watch video clips of the following ballets on the internet orYou Tube.a. Swan Lakeb. The Nutcracker Suitec. Giselle

2. Let them write a reaction paper on the viewed ballet performances.


Let the students answer the following.

Rating Scale: 5 - Very Good 2 - Poor4 - Good 1 - Needs Follow-up3 - Fair


1. How well did I perform creative simpleballet steps with my group? __________

2 How well can I identify the different musical genresbased on instrumentation, text, and purpose? __________

3. How well can I describe the characteristics of eachthrough listening and singing to their melody, harmony,rhythm, text, and mass appeal? __________

VII. GENERALIZATION

The Filipino Ballets vividly present folktales based on local fables. Example areLola Basyang as well as epics from neighboring Asian regions, such as India’sRamayana. Highly communicative movements and steps dramatize the actionsin the respective stories. The colorful sets and costumes add to the luster andattraction of the productions.

Although not as extensively explored as the other performing genres for localadaptation, the Filipino Ballet has evoked wide enthusiasm for people of all ages.It has also added to the repertory of dance companies to supplement the Westernclassical ballets.



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VIII. EVALUATION

1. Have the students listen further to some music from Philippine and westernballets, and identify their titles.

2. Let them play a game of “drawing lots” with the titles of various balletswritten on strips of paper. Ask them to say at least two things learned aboutthe Philippine or western ballet whose title they have drawn.

3. Let them research further on a Philippine or western ballet that they findinteresting.



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Quarter IV20TH AND 21ST CENTURY MULTIMEDIA FORMS

Sessions 6,7, and 8PHILIPPINE MUSICAL PLAYS

I. SUBJECT MATTER


Sub Topics: Philippine Musical Playsa) Andres Bonifacio: Ang Dakilang Anak Pawisb) Atangc) Katyd) Florante at Laurae) Daragang Magayonf) Noli Me Tangereg) El Filibusterismoh) Magsimula Ka



Musical scores




II. LESSON PROPER





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2. Motivation:As the class listens to the recordings of Philippine musicals and Broadwaymusicals, display on the board pictures of each of the performances.

Choose recordings from past lessons to serve as a bridge to the newlesson. Display the chart of ballet performances taken up in the lastlesson.



1. Let the students watch and listen to the presentations or performancesof Philippine musicals on a DVD.

2. Have them watch the following examples of Philippine musicalperformances on YouTube:a. Katy the Musicalb. Kitang Dalawa, Atang the Musicalc Magsimula Ka performed by Lea Salonga; Leo Valdezd. Magandang Gabi performed by Nonoy Zunigae. El Filibusterismo, the Musicalf. Noli Me Tangere, the Musicalg. Daragang Magayonh. Andres Bonifacio: Ang Dakilang Anak Pawis

3. After watching and listening to the performances, ask the students toexpress their personal reactions or feelings about these works throughgroup discussion and analysis. Report the outcome of the groupdiscussion in class.

C. INTEGRATION

The lesson on 20th and 21st Century Multi Media Forms may be integratedwith Philippine History, Music, and Arts for a better understanding of thecreative styles and their sources of influence.

Infusion of values: Appreciation of our nationalist composers, lyricists, storytellers, and performers as major exponents of our cultural heritage expressedthrough Philippine musical plays.



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D. GENERALIZATION

In the Philippines, the musical play is a more recent development thanBroadway and West End, relying mostly on adaptations from novels,folktales, legends, myths, history, literary works, or biographical sketchesof famous artists and heroes. Musical plays have been associated with theBroadway plays of New York City and West End Productions in London,including My Fair Lady, South Pacific, Camelot, West Side Story, LesMiserables, Phantom of the Opera, Lion King, Beauty and the Beast,Wicked, Mamma Mia, Cats, and Miss Saigon.

III. WHAT TO KNOW

Let the students answer the follwing:

1. How did the different forms of Philippine music reflect life in the 20thcentury?

2. Discuss the characteristics of musical play, broadway musicals, and othermulti-media forms. Explain your answers.

3. What role did media like radio, television, and recordings play in thedevelopment of these different musical genres?

4. Discuss the relationship among music, technology and media in thedevelopment of the musical play. Explain your answers.

5 Explain how theatrical elements in a selected part of a musical play arecombined with music and media to achieve certain effects.

6. Describe how an idea or story in a musical play is presented in a liveperformance or video presentation.

IV. WHAT TO PROCESS

Listening and Singing Activities

1. Divide the class into groups. Each group will be assigned to research lyricsof three musical excerpts of any Broadway musical and Philippine musicalplay.

2. Play musical excerpts from the songs listed below.



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Songs from Broadway Musicalsa. Phantom of the Opera (All I Ask of You, Music of the Night, Think of

Me, Phantom of the Opera)b. West Side Story (I Have a Dream, Somewhere, Maria, Tonight)c. Carousel (If I Loved You, You’ll Never Walk Alone )d. Sound of Music (My Favorite Things, Eidelweiss, Do Re Mi, So

Long Farewell, The Lonely Goatherd, Maria, and The Sound of Music)e. Miss Saigon (Sun and Moon, Movie in My Mind, I’d Give My Life

for You, I Still Believe, Last Night of the World)f. Les Miserables (On My Own, I Dreamed a Dream, Empty Chairs

and Empty Tables, Do You Hear the People Sing?, Castle on a Cloud)g. Beauty and the Beast (Something There, Be Our Guest, If I Can’t

Love Her, A Change in Me, Beauty and the Beast)

Songs from Philippine Musical Playsa. Noli Me Tangere (Buksan Mo ang Iyong mga Mata, Paalam na

Pag-ibig,Sa Muling Pagkikita, Dalawang Liham, Tatlong Sulok ngPag-ibig, Ang Mga Sawimpalad, Ang Multo sa Lawa, Ang Totoo ayTotoo, Sa Bagtasan ng Mga Landas)

b. El Filibusterismo (Awit ng Isang Lawin, Aklas)c. Andres Bonifacio: Ang Dakilang Anak-Pawis (Marangal na Dalit

ng Katagalugan, La Deportacion, Awit ng Manggagawa, AnumanGagawin)

d. Katy! (Balut!; Ang Entablado ay Mundo; Tale, Tale; Pahiram ngKanta; Tupada; Bituing Tahimik; Minsan ang Minahal ay Ako)

e. Atang - Dulang May Musika (Nasaan Ka Irog, Pakiusap, MadalingAraw, Nabasag ang Banga (from the zarzuela Dalaging Bukid),Masayang Dalaga)

f. Florante at Laura (Pag-ibig ay Laging May Panahon, Sa Gubat,Prutas at Lason, Isang Basong Pag-ibig, Awit ng Lumbay ni Florante,Ligaya ng Dibdib, Sa Loob at Labas)

g. Daragang Magayon (note: research on YouTube)h. Magsimula Ka (Magandang Gabi, Magsimula Ka, Pangarap, Pag-

ibig, Pag-asa, May Dilim, May Liwanag, Kahit Isang Dukha, MayLangit Ding Malalasap, Buhay Disco, Sisikat Din Ako, Tanging IkawLamang, Sa Tuwing Kapiling Ka)

3. Let the students listen to the selections to appreciate the music.

4. Have them sing the selections expressively together with the recordings orfrom the internet (YouTube), using the lyrics that they researched. Timeallotment for each group is five (5) to ten (10) minutes only. Let them addchoreography and use musical instruments, if needed.



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Evaluation of Listening Activity of Broadway Musicals

Let the students answer the following.


Rate scores are based on melodic appeal, message content, singability, and textrelevance to present day society.

A. Broadway Musicals

1. How well did I listen to the songs from Broadway musicals?

a. Mamma Mia (from Mamma Mia) __________b. Don’t Cry for Me Argentina (from Evita) __________c. Summer Nights (from Grease) __________d. Tomorrow (from Annie) __________e. Memory (from Cats) __________f. Beauty and the Beast (from Beauty and the Beast) __________g. Sun and Moon (from Miss Saigon) __________h. Send in the Clowns (from A Little Night Music) __________i. On My Own (from Les Miserables) __________

2. How well can I identify songs from Broadwaymusicals? __________

3. How well can I describe the qualities ofBroadway music through listening? __________

B. Philippine Musical Plays

1. How well did I listen to any of the vocal interpretations of songs fromPhilippine musicals?

a. Noli Me TangereSong title: _____________________________ __________

b. El FilibusterismoSong title: _____________________________ __________



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c. Andres Bonifacio: Ang Dakilang Anak-PawisSong title: _____________________________ __________

d. Katy!Song title: _______________ ______________ __________

e. Atang - Dulang May MusikaSong title: _______________ ______________ __________

f. Florante at LauraSong title: _____________________________ __________

g. Daragang MagayonSong title: _______________ ______________ __________

h. Magsimula KaSong title: _____________________________ __________

2. How well can I identify songs from Philippinemusicals? __________

3. How well can I describe the characteristics ofthe music of Philippine musicals? __________

Evaluation of the Singing Activity




Rating the other performers / groups:

1. How well did the performer/s expressthe message of the musical? ______________

2. How well did the performer/s act based onthe following:



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a. voice quality ______________b. expression ______________c. stage presence ______________d. audience impact ______________f. mastery of the musical ______________

VI. WHAT TO UNDERSTAND

Group Activity

1. Divide the class into four groups.

2. Within each group, let the students brainstorm among themselves one workfrom a Philippine musical play.

3. Let them create a short musical play using media and technology. They mayuse local folktales, legends, history, biographies of heroes, and customsand traditions as themes of their musical work.

4. For the music, they may compose their own songs or they may use or adaptthe melodies of existing songs such as folksongs, indigenous music of yourarea, pop, classical, Broadway, and OPM. Then, let them write their ownlyrics suited to the melody for the song adaptation for their musical play.

5. Have the students create or improvise appropriate sounds, music, gestures,movements, and costumes using media and technology.

6. After this activity, let them answer this question on a 1/2 sheet of bondpaper: “What insights did I gain from this activity?”

VII. WHAT TO PERFORM

Group or Individual Activities

A. Live Performance of Philippine musicals and Broadway musicals

1. Divide the class into two groups.

2. Let each group present an excerpt of a 20th or 21st century Philippinemusical and an excerpt of a Broadway musical.



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3. Let them highlight the similarities and differences between these twoforms of musicals.

4. They may use musical instruments as accompaniment for their musicworks or they may perform a capella (without accompaniment).

5. They may use props and costumes, if needed. Let them create orimprovise appropriate sounds, music, gestures, movements, and costumeusing media and technology for a selected part of the musical play andbroadway musical.

6. Let them perform the short musical play in class. They may add somechoreography or movements and improvised props and costumes, ifneeded.

7. Ealuate the performance based on:- musicianship (musical elements) 50%- audience impact 20%- stage presence 20%- stage discipline and deportment 10%



1. Divide the class into groups and let the students choose a group leaderwho will assign 1 or 2 members to record the performance of theirgroup. They may use a cassette recorder or they make a music videousing their mobile phone, digital camera, or video camera.

2. Have each group play their recorded performance or music video totheir classmates.



Let the students answer the questions.




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Rating myself:

1. How well did I perform with my group the followingmusical styles?a. Philippine musical play __________b. Broadway musical __________

2 How well can I identify the different musical genresbased on instrumentation, text, and purpose? __________

3. How well can I describe the characteristics of eachthrough listening and singing to their melody,harmony, rhythm, text, and mass appeal? __________

4. How well can I identify the different musical styles(Philippine musical plays and Broadway musicals)? __________


1. How well did the performer/s express themessage of the musical? __________

2. How well did your group members perform? __________

3. How well did your group members participate? __________

VI. GENERALIZATION

In the Philippines, the musical play is a more recent development than Broadwayand West End, relying mostly on adaptations from previous novels, literary works,or biographical sketches of famous artists.

In Noli Me Tangere and El Filibusterismo, for example, the treatment in themusical play production leans more towards the artistic and collaborativeconception of music, dance, and visual effects rather than the thematic emphasisof the opera.



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VII. EVALUATION

1. Let the students listen to some songs from the Philippine musicals andBroadway musicals discussed in class and let them identify their titles.

2. Let them play a game of “drawing lots” with the title on each lot. Let themsay at least two things learned about the Philippine and Broadway musicalson which the title is drawn.

VIII. ENRICHMENT ACTIVITY

1. Songs from Philippine musicals - Let the students listen to some songsfrom the following Philippine musicals:

Song of JosephMayo Bisperas ng Liwanang (May Day Eve)The Legend of MLarawan ng Kababaihan: Maskara at MukhaHades Ladies by Fides Cuyugan-Asensio

2. Film Viewing - Let the students watch any Philippine musicals andBroadway musicals in VCD/DVD format, o they may watch excerpts orvideo clips on the internet or YouTube.

Have them write a reaction paper on the viewed musical.



88All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office.

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MUSIC GLOSSARY

absolute music Music with no extra-musical association such as words, visual imagery, or emotion;the opposite of program music

a cappella A Latin term, applied to choral music without accompanimentaerophone Any musical instrument that produces sound primarily by causing a body of air to vibrate,

without the use of strings or membranesalternative music An underground independent form in the 1980’s that became widely popular in the

1990’s for defying the excesses of “mainstream” rock music, Alternative Music became known forits unconventional practices such as distorted guitar sounds, oppressive lyrics, and defiantattitudes.

alto 1 A female voice with a range lower than a soprano, but higher than the male tenor2 A term used for an instrument whose range is analogous to the alto voice

aria An air or song for solo voice with orchestra, usually part of an opera, cantata, or oratorioart song Short stylized song dealing with such subjects as love, nature, and life. It is usually written

for one voice with piano accompanimentatonality A term used for music without a central key, thereby producing dissonant harmonies and

disjunct melodiesavant-garde A French term used to describe composers (also artists and writers) whose works are

radical and advanced

ballad Is an expressive folksong in narrative verse whose text deals typically about love.ballet An artistic dance form performed to music, using precise and highly formalized set steps and

gesturesbeat Regular, current pulsation that divides music into equal units of timebebop It is a modernist jazz style of music during World War II whose jazz spirit is coupled with the

harmonic standard structure as a new pattern to base its improvisation.big band A large ensemble form originating in the United States in the mid 1920’s closely associated

with the Swing Era with jazz elements. Relying heavily on percussion (drums), wind, rhythmsection (guitar, piano, double bass, vibes), and brass instruments (saxophones), with a lyricalstring section (violins and other string instruments) to accompany a lyrical melody.

bodabil A genre of various entertainment composed of songs, dances, comedy routines, magic acts,and chorus girls

bossa nova originated in 1958-59 as a movement effecting a radical change in the classic Cubansamba. The word “bossa” comes from the Brazilian capital of Rio de Janeiro, which means either‘trend’ or ‘something charming’, integrating melody, harmony, and rhythm into a “swaying” feel,where the vocal production is often nasal.

blues A type of black American folk music of the 20th century related to jazz, and associated withone’s state of mind

blues ballad A fusion of Anglo-American and Afro-American styles from the 19th century thatdeals with the anti-heroes resisting authority.

call and response method It is a succession of two distinct musical phrases usually rendered bydifferent musicians, where the second phrase acts as a direct commentary on or response to thefirst. Much like the question and answer sequence in human communication, it also forms a strongresemblance to the verse-chorus form in many vocal compositions.

cha cha A ballroom dance originating in Cuba in 1953, derived from mambo and its characteristicrhythm of 2 crochets – 3 quavers – quaver rest with a syncopation on the 4th beat.

chamber music Music for a chamber (or small room) rather than a hall; hence music played by smallgroups—duos, trios, quarters, etc.

chance music Music in which chance or randomness of performance is an element of the composition.chord The simultaneous sounding of two or more toneschordophone Any musical instrument that produces sound primarily by vibrating stringschromatic An interval based on an octave of 12 semitones rather than a diatonic scale


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concerto Originally, a work (vocal or instrumental) with effects of contrast, but now a work in whicha solo instrument performs with a large ensemble or orchestra

counterpoint The simultaneous combination of two or more melodies, or polyphonycountersubject A subsidiary theme played in response to the subject of a figurecumbia An African courtship dance with European and African instrumentation and characteristics,

which became popular in Panama and Colombia

disco Music pertained to rock music that was more danceable, which led to the establishment ofvenues bearing the same name as a place for public dancing

dissonance An interval or chord that is not harmonious like a consonancedynamics Variations in the volume of musical sounds

electronic music Music which uses electronic equipmentsensemble A small group of performersexpressionism A term borrowed from painting and literature for music designed to express a state of

mind

folksongs Songs by the people handed down from generation to generationform Organization of musical ideas in time; structure of a musical compositionfoxtrot A 20th century social dance in the USA that was executed as a one step, two step and

syncopated rhythmic pattern

harmony The combination of simultaneous tones to produce chords, and the relationship of successivechords

idiophones A musical instrument that creates sound through its own vibration, without the use ofstrings or membranes

impressionism A term borrowed from painting to describe music that is intended to convey animpression (often of natural phenomena) rather than a dramatic or narrative idea

incidental music Music composed as a background in a stage productioninterval The distance between two pitches, traditionally measured in terms of the steps in the diatonic

scale

jazz Music originated from African-American people characterization by improvisation, syncopation,and usually a regular or forceful rhythm

jazz ballad A blues style built from a single verse of 16 bars ending on the dominant or half-cadence,followed by a refrain/chorus part of 16 or 32 bars in AABA form

J pop Japanese popular musicjazz rock The music of the 1960’s and 1970’s bands that inserted jazz elements in its rock music. A

synonym for “jazz fusion,” jazz rock is a mix of funk and R & B rhythms

K pop Korean popular music

maracatu A form of Latin-American music that first surfaced in the African state of Pernambuco,combining the strong rhythms of African percussion instruments with Portuguese melodies.

melody A succession of notes of varying pitch with a recognizable shape or tunemeter Organization of beats into regular groupsmusique concre’te Music in which real (or “concrete”) sounds are electronically recorded

neo-classical A term describing the music of some twentieth-century composers whose techniquesdraw on those of the Baroque and Classical periods

note Symbol used to indicate pitch

opera A drama set to music, with costumes and scenery to complement the musicians


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opus The Latin word for “work” used with a number to identify a work in a composer’s output

paso doble (meaning “double step”) A theatrical Spanish dance used in bullfights, where the musicwas played as the matador enters (paseo) and during passes just before the kill

pitch Relative highness or lowness of a soundpolyphony A texture in which two or more independent melodic lines are combined, as opposed to

heterophony, homophony, monophonyprelude A short instrumental work originally intended to precede another, but from the nineteenth

century a short, self-contained piece usually for pianoprogram music Instrumental music that is narrative or descriptive of some non-musical idea, often

literary or pictorialprogression A musically logical succession of chords

ragtime An American popular musical style mainly for piano, originating in the red light districts ofthe Afro-American communities in St. Louis and New Orleans. Its style was said to be amodification of the “marching mode” made popular by John Philip Sousa, where the effect isgenerated by an internally syncopated melodic line pitted against a rhythmically straightforwardbass line.

reggae An urban popular music and dance style that originated in Jamaica in the mid 1960’s,containing an English text coupled with Creole expressions that were not so intelligible to the non-Jamaican.

rhythm The distribution of sounds into groups with a perceptible meter or pulserock ballad It is an emotional love song with suggestions of folk music, as in the Beatles’

composition “The Ballad of John and Yoko” and Billy Joel’s “The Ballad of Billy.” Thisstyle is sometimes applied to strophic story-songs such as Don McLean’s “American Pie.

rock and roll Popular song form in the United States during the late 1940’s to the 1950’s thatcombines Afro-American forms such as the blues, jump blues, jazz, and gospel music withthe Western swing and country music.

rumba A popular recreational dance of Afro-Cuban origin, performed in a complex duple meterpattern and tresillo, which is a dotted quaver – dotted quaver – dotted semiquaver rhythm. It isnormally used as a ballroom dance

scale A sequence of notes going upwards or downwards by stepscore The music-copy of a piece for several performers; hence full score, containing complete details

of every participating voice and instrumentserialism A method of composing using a series of tones (usually all 12 of the chromatic scale), or

other musical elements, which are heard only in a particular ordersoprano 1 The highest female voice 2 A term used for an instrument of high rangesoul music was a popular music genre of the 1950’s and 1960’s. It originated in the United States. It

combines elements of African-American gospel music, rhythm and blues, and often jazzsound Vibrations which are transmitted, usually through air, to the eardrum, which sends impulses to

the ear that we hearspiritual Normally associated with a deeply religious person, it refers here to a Negro spiritual, a song

form by African migrants to America who became enslaved by its white communities.staff The set of lines on and between which music is writtenstandard It is a song of established popularity by virtue of its enduring and recurring power.subject A theme or a group of themes on which work is basedsuite An instrumental work in several movements, usually a set of dances, which in the seventeenth

and eighteenth centuries often took the form allemande-courante-sarabande-optional dancemovements-gigue

syncopation The stressing of beats of a meter that are normally unstressedsynthesizer A machine that produces and alters sounds electronically


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tablature A system of notation by symbols that represent the position of a performer’s fingers (e.g., ona guitar) rather than the tone to be played

tango A Latin-American dance form whose name may have been of African origin meaning “AfricanDance” or from the Spanish word “taner” meaning to play (an instrument).

tempo The speed of a piece of musictenor The highest normal male voicetheme A musical idea on which a work is based, usually with a recognizable melodytimbre Quality of sound that distinguishes one instrument or one voice from anothertime signature Two numbers, one above the other, appearing at the beginning of a staff, or the start of

the piece, indicating the meter of a piece; the number above refers to the number of beats permeasure, and the number below represents the note that gets one beat

tonality The feeling of gravitational pull towards a particular tone, determined by the key of the musictone Sound that has a definite pitch or frequencytone-color The quality of the sound of a particular instrument or voice, or a combination of themtriad A three-note “common” chord consisting of a fundamental tone with tones at the intervals of a

3rd and 5th abovetwelve-tone A term used to describe a technique of composition (serialism) in which all 12 notes of

the chromatic scale are treated equally

variation A varied (elaborated, embellished, etc.) version of a given theme or tune

waltz A nineteenth-century dance in triple meterwhole tone The interval of two semitones

zarzuela A musical stage performance popularized in the Philippines during the Spanish period

MUSIC PRONUNCIATION GUIDE

Music Terms Pronunciation

1. a capella ah kuh-pel-uh; Italian ah kahp-pel-lah2. aria ahr-ee-uh; air-ee-uh; ahr-ee-uh; uh-rahy-uh3. avant-garde uh-vahnt-gahrd; uh-vant-, av-ahnt-, ah-vahnt-; French a-vahn-gard4. bebop bee-bop5. bossa nova bos-uh noh-vuh6. concerto kYn cháirtō7. cha cha chah-chah8. cumbia koo m-bee-uh; Spanish koom-byah9. ensemble ahn-sahmb; French ahn-sahn-bluh10. etude ey-tood, ey-tyood, ey-tood, ey-tyood;French ey-tyd11. jive jahyv12. maracatu marakatu13. musique concre’te French pronunciation: [myzik kɔ̃.kʁɛt]14. opera op-er-uh, op-ruh15. opus oh-puh s16. paso doble pah-soh doh-bley; Spanish pah-sawdaw-vle17. prelude prel-yood, preyl-, prey-lood, pree-18. reggae reg-ey19. salsa sahl-suh; Spanish sahl-sah]20. samba sam-buh, sahm-21. tango tang-goh22. tablature tab-luh-cher, -choo r23. triad trahy-ad, -uh d


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Musicians’ Names Pronunciation

1. Claude Debussy Claude [klôd), De·bus·sy [dèb byoo see]2. Arnold Schoenberg Schoen·berg [shúrn bùrg]3. Bela Bartok Bar·tók [bar tàwk]4. Igor Stravinsky Stra·vin·sky [strY vín skee]5. Sergey Prokofieff Pro·ko·fi·eff [prY káwfee ef]6. Francis Poulenc Pou·lenc [pol angk]7. Leonard Bernstein Bern·stein [búrn steen]8. Karlheinz Stockhausen Stock·haus·en [stók howz’n]

ARTS GLOSSARY

abstractionism An artistic style in which the natural appearance of objects becomes unimportant, andimages are reduced to geometrical shapes, patterns, lines, angles, textures, and colors

acrylic A fast-drying paint containing pigment suspension in acrylic polymer emulsionaction painting A style of painting in which paint is spontaneously dribbled, splashed, or smeared on

the canvas, rather than being carefully appliedaesthetic Relating to or dealing with the beautiful; pleasing in appearanceairbrush A device that is used to spray a liquid (such as paint) onto a surfaceandroid A mobile operating system (OS) developed for use on electronic devices such as a mobile

phone or tablet; sometimes also used to refer to the device itself using such an OSanimation The process of creating the illusion of motion or shape change by means of the rapid

display of a sequence of static images that are minimally different from one anotheravant-garde Experimental or innovative, particularly in art and culture

balance A principle of art having to do with visual equilibrium, or two parts or sides of an artworkhaving equal “visual weight”

celluloid A colorless flammable material used to make photographic filmcinematography The art of making motion picturescollage An artistic composition of materials and objects pasted over a surface, often with unifying

lines and colorcomposition An organization or arrangement imposed upon the elements within a work of artconceptual art Art that is intended to convey an idea or concept to the perceiver, and need not involve

the creation or appreciation of a traditional art object such as a painting or sculpturecontemporary art Art subjects, styles, and forms that are prevalent at the current timecontrast The use of opposing elements, such as colors, forms, or lines, in proximity to produce an

intensified effect in a work of artcopywriter The creator of text, normally for use in advertising in magazines, brochures, posterscubism A style of art that stresses abstract structure at the expense of other pictorial elements,

especially by displaying several aspects of the same object simultaneously and by fragmenting theform of depicted objects

dadaism A movement in art and literature based on deliberate irrationality and negation of traditionalartistic values

dark room A room from which all light is excluded, so that photographs can be developed in itdigital Referring to data (including images) that are created, stored, and transmitted through electronic

meansdigital camera A camera that encodes images and videos through electronic means (rather than

through traditional film) and stores them for later retrieval and use


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digital single lens reflex (DSLR) camera A camera that combines the features of a traditional single-lens reflex camera with a digital imaging sensor, eliminating the use of film

distortion / distorted The alteration of the original shape of something, such as an object or imagedocumentary A film or TV program presenting the facts about a person or eventdubbing The act or process of furnishing a film or tape with a new sound track or adding music,

sound effects, etc. to an existing one

embellishment Anything that adds design interest to a piece, usually in sewing, arts, and craftsentrepreneur A person who conceptualizes and develops a businessexpressionism A theory or practice in art of seeking to depict the subjective emotions and responses

that objects and events arouse in the artist

fauvism A movement in painting characterized by vivid colors, free treatment of form, and a resultingvibrant and decorative effect

filter In photography, a device that partially or completely absorbs certain light raysfish eye A visual distortion, usually in a photographic image, created by a special lens resulting in a

convex, hemisphere-shaped imagefocal Placed at or measured from a focusfootage Film that has been shotforeground The part of a scene or picture that is nearest to and in front of the viewerform The element of art pertaining to the three dimensions (height, width, and depth) of art objects; or

the appearance or illusion of these three dimensions, as in a paintingfuturism A movement in art, music, and literature begun in Italy about 1909 and marked especially

by an effort to give formal expression to the dynamic energy and movement of mechanicalprocesses

genre A type, style, or category of art

haute couture “High fashion” or the creation of exclusive custom-fitted clothinghue The property of color that distinguishes one color from another as red, green, violet, etc.

impasto An art technique involving heavy application of paint to canvas, often with a spatula or knifeinstead of a paintbrush, and sometimes directly from the tubes of paint

impressionism A school of late 19th century French painters who depicted the appearance of imagesby using strokes of unmixed colors to give the impression of the reflected light

improvised Created or devised with the use of whatever is on handinstallation art Art that is created, constructed, or installed on the site where it is exhibited, often

incorporating materials or physical features on the site

kinetic Relating to or exhibiting motionkinetoscope An early motion picture exhibition device, designed for viewing films by one individual

at a time through a peephole viewer window in the top of the device

landscape In art, the depiction of natural scenery such as mountains, valleys, forests, and rivers as themain subject of the artwork

mechanical style An artistic movement in which figures and images were reduced to basic elements,such as planes, cones, spheres, cylinders, and other mechanical components; even human figureswere mere outlines without expression

mime The art or technique of portraying a character, mood, idea, or narration by gestures and bodilymovements

minimalism A style or technique (as in music, literature, or design) that is characterized by extremespareness and simplicity


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mixed media Varied artistic materials and processes used in combination in one artworkmonochromatic Having only a single colormontage In filmmaking, the process of editing the film footagemonumental Huge, imposing, greatmythical Referring to a creature, character, or place that is found in myths, legends, and fantasy

stories

neodadaism A minor movement chiefly of the 1960s reviving some of the objectives of dada butplacing emphasis on the importance of the work of art produced rather than on the conceptgenerating the work

neoprimitivism An early 20th century art movement inspired by the native arts of Africa and theSouth Sea Islands

neo-realism Any movement seeking to incorporate a modified form of realism, as in art, cinema,literature, or philosophy

nickelodeon In the early 1900s, a motion-picture theater, variety show, etc. where admission was anickel (five cents)

nonobjectivism An artistic style that had no reference to recognizable objects; lines, shapes, andcolors were used in a cool, impersonal approach that aimed for balance, unity, and stability

op art “Optical art,” a style of abstractionism popular in the 1960s which made use of preciselyplanned and positioned lines, spaces, and colors to create the illusion of movement

palette In art, a wooden board used for mixing colors for paintingperformance art A form of theatrical art featuring the activity of the artist and works presented in a

variety of mediaperspective The art of picturing objects or a scene in such a way as to show them as they appear to the

eye with reference to relative distance or depthphotomontage A combination of several photographs joined together for artistic effect or to show

more of the subject than can be shown in a single photographpictograph A written or drawn symbol that conveys its meaning through its visual resemblance to a

physical objectpigment A dry insoluble substance, usually pulverized, which when suspended in a liquid becomes a

paint, ink, etc.playwright A writer of plays; dramatistplotter A computer printer for printing vector graphicspop art A form of art that depicts objects or scenes from everyday life and employs techniques of

commercial art and popular illustrationproportion A principle of art having to do with the relative size and positions of components in an

artwork; also called “scale”

rhythm A principle of art resulting from the repetition of elements or components of an artwork in aspecific pattern

satire A genre of literature, visual art, and performing arts in which shortcomings, vices, and abusesof a certain segment of society are presented humorously in order to urge improvement

shutter In photography, a device for opening and closing the lens of a camera to expose the filminside it to light

slapstick comedy Broad comedy characterized by boisterous actionsnapshot A photograph, usually taken quickly and spontaneouslysocial realism Art used to comment on or protest against social ills such as injustice, inequality, war,

poverty, industrial hazards, environmental destruction, etc.stencil A sheet of material that has been perforated with a pattern; ink or paint can pass through the

perforations to create the printed pattern on the surface below


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still life A work of art in which ordinary household objects such as vases of flowers, plates, fruit,food, and the like are depicted as the main subject

street theater The presentation of plays or other entertainment by traveling companies on the streets,in parks, etc.

stucco A material made of lime, sand, and water used as a decorative coating for walls and ceilingssurrealism A style of painting depicting strange subjects like those seen in dreams and fantasiessymmetrical Having both sides of an object identical or very similar to one another, creating a sense

of balance

tablet A mobile computer with a touch screen display, circuitry, and battery in a single unittactile Perceptible to the sense of touch; tangibletexture An element of art having to do with the roughness or smoothness of an artwork’s surfacethree-dimensional Having three dimensions: length, width, and depthtwo-dimensional Having two dimensions: length and width

unity A principle of art referring to the integration of all the components of an artwork to create ameaningful whole

value An element of art referring to the lightness or darkness of a colorvariety A principle of art referring to the use of differences or modifications to create visual interestviewfinder A device on a camera that indicates, either optically or electronically, what will appear in

the field of view of the lensvirtual Existing in the mind or the imagination, or in electronic data form

zarzuela A Philippine adaptation of the European opera, highly popular during the late 1800s to theearly 1900s

ARTS PRONUNCIATION GUIDE

Artists’ Names

Cezanne – say-ZAHNDelacroix – deh-lah-KRWAHManet – mah-NAYMonet – moe-NAYRenoir – ruhn-WARVan Gogh – van-GO

Art Terms

aesthetic - es·thetíccelluloid - sel´lu·loydcubism - kyu´bismfauvism - fovísmgenre - zhon´rmontage - mon·täzh´surrealism - sur·reál· ism


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MUSIC BIBLIOGRAPHY

Books

Abraham, Gerald. The Concise Oxford History of Music. Oxford: Oxford University Press,1990.

Ainsley, Robert (ed). Classical Music. New York: Smithmark Publishers, 1995.Alberti, Luciano. Music of the Western World. New York: Crown Publishers, Inc. 1974.Bartok, Bela . Album of Selected Pieces for the Piano, Volumes I and II. Compiled and

Arranged by Katherine K. Davis. Copyright by E. C. Schirmer Music Co.,Boston,Massachusetts, USA.

Bonis, Ferenc. Bela Bartok. Budapest: Kossuth Printing House, 1981.Burrows, John. (general editor). Classical Music. Introduction by Lady Solti. London:

Dorling Kindersley Limited, 2005.Cultural Center of the Philippines. Encyclopedia of Music,Cultural Center of the Philippines Library. Souvenir programmes.Debussy, Claude. Preludes pour Piano. France: Durand et Cie, 1910..Gershwin, George. Rhapsody in Blue. London, England: Chappel and Co., Ltd.Guevara, Amelita D and Sternberg, Kathy (co-ed). Pag-ibig Song Book. Manila: The Manila

Symphony Society, 1986.Miller, Hugh M. Introduction to Music. New York: Barnes and Noble, Inc. 1971.Morgan, Robert P. Twentieth-Century Music: A History of Musical Style in Modern Europe and

America. New York/London: W.W. Norton and Company, 1991.Prokofieff, Serge. 3 Concerto pour Piano, Op. 26. New York: Boosey and Hawkes, Inc., 1947.Randel, Don Michael (compiled). Harvard Concise Dictionary of Music. London, England:

The Belknop Press of Harvard University Press, 2000.Rimm, Robert (introduction). Twentieth Century Piano Classics. New York: Dover

Publications, Inc., 1999.Romualdez, Norberto (ed.). The Philippine Progressive Music Series. New York: Silver

Burnett Company, 1950.Sadie, Stanley and Alison Lathan (eds.). The Cambridge Music Guide. New York: The Press

Syndicate of the University of Cambridge, 1985.Salzman, Eric. Twentieth-Century Music: An Introduction. Englewood Cliffs, New Jersey:

Prentice Hall, 1967.Siegmeister, Erie. Invitation to Music. New York: Harvey House, Inc., 1962.Schoenberg, Harold C. The Lives of the Great Composers. New York: W.W. Norton and

Company, 1981.Slonimsky, Nicolas. The Concise Baker’s Biographical Dictionary of Musicians. New York:

Schirmer Books, 1986.The Best of Broadway Songs Ever. Wisconsin: Hal Leonard Corporation.University of the Philippines College of Music Library.

Online references

www.everynote.comwww.imlsp.comwww.naxosmusiclibrary.comwww.icking-music-archive.orgwww.filipinaslibrary.org.ph


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ARTS BIBLIOGRAPHY

Books

Duldulao, Manuel D. Contemporary Philippine Art. Vera-Reyes, Inc. Quezon City, Philippines.1972.

Fleming, William. Arts and Ideas. Holt, Rinehart and Winston. New York. 1980.Gatbonton, Juan T., Jeannie E. Javelosa, Lourdes Ruth R. Roa, eds. Art Philippines.

The Crucible Workshop. Pasig City, Philippines. 1992.Time-Life Library of Art. The World of Cezanne. Time Inc., U.S.A. 1971Time-Life Library of Art. The World of Delacroix. Time Inc., U.S.A. 1971Time-Life Library of Art. The World of Manet. Time Inc., U.S.A. 1972Time-Life Library of Art. The World of Monet. Time Inc., U.S.A. 1972Time-Life Library of Art. The World of Picasso. Time Inc., U.S.A. 1972Time-Life Library of Art. The World of Van Gogh. Time Inc., U.S.A. 1971

Online references

The Ateneo Art Gallery – http://www.ateneoartgallery.org/The Center for Art and Thought – http://www.centerforartandthought.org/Deviant Art – http://www.deviantart.com/browse/all/digitalart/Yuchengco Museum – http://yuchengcomuseum.org/

Animation Council of the Philippines – http://www.animationcouncil.org/Philippine Animation Studio Inc. – http://www.pasi.com.ph/flash/

Kenneth Cobonpue - www.kennethcobonpue.com/Rajo Laurel – http://www.rajolaurel.com/Monique Lhuillier – https://www.moniquelhuillier.com/Josie Natori – http://www.natori.com/Dita Sandico-Ong – http://dittachannel.com/intro/Lulu Tan-Gan – http://www.tan-gan.com/

George Tapan – https://www.facebook.com/georgetapanJohn K. Chua – http://adphoto.com.ph/photographer_profile/id/2Federation of Philippine Photographers Foundation (FPPF) –

http://www.photoworldmanila.com/about-fppf/

Twine – http://twinery.org/Stencyl – https://www.udemy.com/create-your-first-computer-game-with-stencyl/GameMaker – https://www.yoyogames.com/learn

http://www.instructables.com/id/How-To-Make-A-Pinhole-Camera/http://www.digitalcamerareview.com/default.asp?newsID=5464&news=how+to+take+great+pictures+with+your+point+and+shoot+camerahttp://digital-photography-school.com/megapost-learning-how-to-use-your-first-dslr/http://www.wikihow.com/Use-Your-Digital-Camera%27s-ISO-Setting
