HORIZONS Grade 10 Learner's Materials Music and Arts Appreciation for Young Filipinos GOVERNMENT PROPERTY NOT FOR SALE Department of Education Republic of the Philippines PDF

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HORIZONS Grade 10 Learner’s Materials Music and Arts Appreciation for Young Filipinos Raul M. Sunico, Ph.D. Evelyn F. Cabanban Melissa Y. Moran GOVERNMENT PROPERTY NOT FOR SALE ALLOTTED TO District/ School: ____________________________________________________________ Division: ______________________...

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HORIZONS Grade 10 Learner’s Materials Music and Arts Appreciation for Young Filipinos Raul M. Sunico, Ph.D. Evelyn F. Cabanban Melissa Y. Moran

GOVERNMENT PROPERTY NOT FOR SALE ALLOTTED TO District/ School: ____________________________________________________________ Division: ____________________________________________________________ First Year of Use:____________________________________________________________ Source of Fund (year included): ______________________________________________

Department of Education Republic of the Philippines i

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.

HORIZONS Grade 10 Learner’s Materials Music and Arts Appreciation for Young Filipinos

ISBN 978-971-793-023-7

Philippine Copyright 2015 by Tawid Publications All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means—electronic or mechanical, including photocopying, recording, or any information storage or retrieval system without prior written permission from the publisher. Published by Tawid Publications 102 B. Gonzales St., Xavierville II Loyola Heights, Quezon City 1108 Metro Manila, Philippines (+63-2) 453-7918 [email protected]; [email protected]

Editorial Board Editors: Evelyn F. Cabanban Melissa Y. Moran Milagros P. Valdez, language reader Coordinator: Evelyn F. Cabanban Cover Design: Rowena E. Cabanban Cover Art and Divider Art: Joe Dureza

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TABLE OF CONTENTS MUSIC

Quarter I

Quarter II

MUSIC OF THE 20th CENTURY ...............................................

2

Impressionism

.............................................................

3

Primitivism

............................................................. 10

Neo Classicism

............................................................. 14

Avant Garde Music

............................................................. 17

Modern Nationalism

............................................................. 22

Electronic Music

............................................................. 25

Chance Music

............................................................. 28

AFRO-LATIN AND POPULAR MUSIC ..................................... 37 Music of Africa

............................................................. 38

Music of Latin American ............................................................. 53 Jazz Music

............................................................. 65

Popular Music

............................................................. 68

Philippine Popular Music

............................................................. 76

Quarter III CONTEMPORARY PHILIPPINE MUSIC ................................. 88 Traditional Composers

............................................................. 89

New Music Composers

............................................................. 110

Song Composers

............................................................. 125

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Quarter IV 20th and 21st MULTIMEDIA FORMS ........................................ 141 Opera in the Philippines .................................................................... 142 Ballet in the Philippines .................................................................... 156 Musical Plays .................................................................................... 163 Musical Plays in the Philippines ....................................................... 167

ARTS

Quarter I

MODERN ART ............................................................................... 188 Impressionism: Origins of the Movement......................................... 190 Impressionism: A Break from Past Painting Traditions.................... 192 Impressionism: Works of Manet, Monet, and Renoir....................... 194 Post-Impressionism: Works of Cezanne and Van Gogh ................... 197 Expressionism: A Bold New Movement........................................... 203 Abstractionism .................................................................................. 208 Abstract Expressionism, Pop Art, Op Art ......................................... 214 Contemporary Art Forms: Installation Art, Performance Art ........... 223

Quarter II

TECHNOLOGY-BASED ART ................................................... 231 Computer / Digital Arts

................................................... 232

Mobile Phone Art / Computer-generated Images ............................. 239 Digital Photography

................................................... 246

Video Games / Digital Painting / Imaging Videos............................ 251

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Quarter III MEDIA-BASED ARTS AND DESIGN IN THE PHILIPPINES ............................................................ 257 Photography ...................................................................................... 259 Film ................................................................................................... 265 Animation.......................................................................................... 274 Print Media: Advertising, Comics, Book Design and Illustration .... 278 Innovation in Product and Industrial Design..................................... 289

Quarter IV ORIGINAL PERFORMANCE WITH THE USE OF MEDIA ................................................... 299 Philippine Theater and Performing Groups ...................................... 300 Roles in a Stage Production ............................................................. 308 Culminating Activity: Staging an Original Performance.................. 313

Music Glossary ........................................................................................................ 317 Music Pronunciation Guide ..................................................................................... 320 Arts Glossary .......................................................................................................... 321 Arts Pronunciation Guide ........................................................................................ 324 Music Bibliography ................................................................................................. 325 Arts Bibliography .................................................................................................... 326

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MUSIC

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.

MUSIC



Quarter I

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. 2. 3. 4. 5. 6. 7.

Listens perceptively to selected 20th century music. Describes distinctive musical elements of given pieces in 20th century styles. Relates 20th century music to its historical and cultural background. Explains the performance practice (setting, composition, role of composers/performers, and audience) of 20th century music. Sings melodic fragments of given Impressionism period pieces. Explores other arts and media that portray 20th century elements through video films or live performances. Creates short electronic and chance music pieces using knowledge of 20th century styles.

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

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Music of the 20th Century

Quarter I: MUSIC OF THE 20TH CENTURY

T

he start of the 20th century saw the rise of distinct musical styles that reflected a move away from the conventions of earlier classical music. These new styles were: impressionism, expressionism, neo-classicism, avant garde music, and modern nationalism. The distinct musical styles of the 20th century would not have developed if not for the musical genius of individual composers such as Claude Debussy, Maurice Ravel, Arnold Schoenberg, Bela Bartok, Igor Stravinsky, Sergei Prokofieff, and George Gershwin stand out as the moving forces behind the innovative and experimental styles mentioned above. Coming from different nations—France, Austria, Hungary, Russia, and the United States— these composers clearly reflected the growing globalization of musical styles in the 20th century. IMPRESSIONISM

O

ne of the earlier but concrete forms declaring the entry of 20th century music was known as impressionism. It is a French movement in the late 19th and early 20th century. The sentimental melodies and dramatic emotionalism of the preceding Romantic Period (their themes and melody are easy to recognize and enjoy) were being replaced in favor of moods and impressions. There is an extensive use of colors and effects, vague melodies, and innovative chords and progressions leading to mild dissonances. Sublime moods and melodic suggestions replaced highly expressive and program music, or music that contained visual imagery. With this trend came new combinations of extended chords, harmonies, whole tone, chromatic scales, and pentatonic scales. Impressionism was an attempt not to depict reality, but merely to suggest it. It was meant to create an emotional mood rather than a specific picture. In terms of imagery, impressionistic forms were translucent and hazy, as if trying to see through a rain-drenched window. In impressionism, the sounds of different chords overlapped lightly with each other to produce new subtle musical colors. Chords did not have a definite order and a sense of clear resolution. Other features include the lack of a tonic-dominant relationship which normally gives the feeling of finality to a piece, moods and textures, harmonic vagueness about the structure of certain chords, and use of the whole-tone scale. Most of the impressionist works centered on nature and its beauty, lightness, and brilliance. A number of outstanding impressionists created works on this subject.

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MUSIC

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Quarter I

The impressionistic movement in music had its foremost proponents in the French composers Claude Debussy and Maurice Ravel. Both had developed a particular style of composing adopted by many 20th century composers. Among the most famous luminaries in other countries were Ottorino Respighi (Italy), Manuel de Falla and Isaac Albeniz (Spain), and Ralph Vaughan Williams (England).

CLAUDE DEBUSSY (1862–1918) One of the most important and influential of the 20th century composers was Claude Debussy. He was the primary exponent of the impressionist movement and the focal point for other impressionist composers. He changed the course of musical development by dissolving traditional rules and conventions into a new language of possibilities in harmony, rhythm, form, texture, and color. Debussy was born in St. Germain-en-Laye in France on August 22, 1862. His early musical talents were channeled into piano lessons. He entered the Paris Conservatory in 1873. He gained a reputation as an erratic pianist and a rebel in theory and harmony. He added other systems of musical composition because of his musical training. In 1884, he won the top prize at the Prix de Rome competition with his composition L’ Enfant Prodigue (The Prodigal Son). This enabled him to study for two years in Rome, where he got exposed to the music of Richard Wagner, specifically his opera Tristan und Isolde, although he did not share the latter’s grandiose style. Debussy’s mature creative period was represented by the following works:  Ariettes Oubliees  Prelude to the Afternoon of a Faun  String Quartet  Pelleas et Melisande (1895)—his famous operatic work that drew mixed extreme reactions for its innovative harmonies and textural treatments.  La Mer (1905)—a highly imaginative and atmospheric symphonic work for orchestra about the sea  Images, Suite Bergamasque, and Estampes—his most popular piano compositions; a set of lightly textured pieces containing his signature work Claire de Lune (Moonlight) His musical compositions total more or less 227 which include orchestral music, chamber music, piano music, operas, ballets, songs, and other vocal music.

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Music of the 20th Century

The creative style of Debussy was characterized by his unique approach to the various musical elements. Debussy’s compositions deviated from the Romantic Period and is clearly seen by the way he avoided metric pulses and preferred free form and developed his themes. Debussy’s western influences came from composers Franz Liszt and Giuseppe Verdi. From the East, he was fascinated by the Javanese gamelan that he had heard at the 1889 Paris Exposition. The gamelan is an ensemble with bells, gongs, xylophone, and occasional vocal parts which he later used in his works to achieve a new sound. From the visual arts, Debussy was influenced by Monet, Pissarro, Manet, Degas, and Renoir; and from the literary arts, by Mallarme, Verlaine, and Rimbaud. Most of his close friends were painters and poets who significantly influenced his compositions. His role as the “Father of the Modern School of Composition” made its mark in the styles of the later 20th century composers like Igor Stravinsky, Edgar Varese, and Olivier Messiaen. Debussy spent the remaining years of his life as a critic, composer, and performer. He died in Paris on March 25, 1918 of cancer at the height of the First World War. CLAIRE DE LUNE (MOONLIGHT) Suite Bergamasque (Excerpt) Claude Debussy

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MUSIC

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Quarter I

MAURICE RAVEL (1875–1937) Joseph Maurice Ravel was born in Ciboure, France to a Basque mother and a Swiss father. He entered the Paris Conservatory at the age of 14 where he studied with the eminent French composer Gabriel Faure. During his stint with the school where he stayed until his early 20’s, he had composed a number of masterpieces. The compositional style of Ravel is mainly characterized by its uniquely innovative but not atonal style of harmonic treatment. It is defined with intricate and sometimes modal melodies and extended chordal components. It demands considerable technical virtuosity from the performer which is the character, ability, or skill of a virtuoso—a person who excels in musical technique or execution. The harmonic progressions and modulations are not only musically satisfying but also pleasantly dissonant and elegantly sophisticated. His refined delicacy and color, contrasts and effects add to the difficulty in the proper execution of the musical passages. These are extensively used in his works of a programmatic nature, wherein visual imagery is either suggested or portrayed. Many of his works deal with water in its flowing or stormy moods as well as with human characterizations. Ravel’s works include the following: 

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Pavane for a Dead Princess (1899), a slow but lyrical requiem Jeux d’Eau or Water Fountains (1901) String Quartet (1903) Sonatine for Piano (c.1904) Miroirs (Mirrors), 1905, a work for piano known for its harmonic evolution and imagination, Gaspard de la Nuit (1908), a set of demonic-inspired pieces based on the poems of Aloysius Bertrand which is arguably the most difficult piece in the piano repertoire. These were followed by a number of his other significant works, including Valses Nobles et Sentimentales (1911) Le Tombeau de Couperin (c.1917), a commemoration of the musical advocacies of the early 18th century French composer Francois Couperin, Rhapsodie Espagnole Bolero

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Music of the 20th Century

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Daphnis et Chloe (1912), a ballet commissioned by master choreographer Sergei Diaghilev that contained rhythmic diversity, evocation of nature, and choral ensemble La Valse (1920), a waltz with a frightening undertone that had been composed for ballet and arranged as well as for solo and duo piano. The two piano concerti composed in 1929 as well as the violin virtuosic piece Tzigane (1922) total the relatively meager compositional output of Ravel, approximating 60 pieces for piano, chamber music, song cycles, ballet, and opera.

Ravel was a perfectionist and every bit a musical craftsman. He strongly adhered to the classical form, specifically its ternary structure. A strong advocate of Russian music, he also admired the music of Chopin, Liszt, Schubert, and Mendelssohn. He died in Paris in 1937. BOLERO Transcriptions for Two Pianos (Excerpt) Maurice Ravel

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MUSIC

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Quarter I

Comparat...