Music and Arts 10 TG

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

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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 Teacher’s Guide Music and Arts Appreciation for Young Filipinos

ISBN 978-971-793-022-0

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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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.

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

Quarter II

TECHNOLOGY-BASED ART ................................................... 117 Computer / Digital Art ................................................... 118 Mobile Phone Art / Computer-generated Images ............................. 123 Digital Photography ................................................... 127 Video Games / Digital Painting / Imaging Videos............................ 131

Quarter III MEDIA-BASED ARTS AND DESIGN IN THE PHILIPPINES ............................................................ 137 Photography ...................................................................................... 138 Film ................................................................................................... 143 Animation / Comics Illustration / Digital Print Media...................... 147 Innovation in Product and Industrial Design..................................... 155

Quarter IV ORIGINAL PERFORMANCE WITH THE USE OF MEDIA ................................................... 162 Philippine Theater and Performing Groups ..................................... 163 Culminating Activity: Staging an Original Performance.................. 168

Music Glossary ........................................................................................................ 172 Music Pronunciation Guide ..................................................................................... 175 Arts Glossary .......................................................................................................... 176 Arts Pronunciation Guide ........................................................................................ 179 Music Bibliography ................................................................................................. 180 Arts Bibliography..................................................................................................... 181

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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

Grade 10 Teacher’s Guide

v

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.

Republic of the Philippines Department of Education DepEd Complex, Meralco Avenue Pasig City

K to 12 Curriculum Guide

MUSIC (Grade 10) December 2013

K to 12 BASIC EDUCATION CURRICULUM

CONCEPTUAL FRAMEWORK

Both the Music and the Arts curricula focus on the learner as recipient of the knowledge, skills, and values necessary for ar tistic expression and cultural literacy. The design of the curricula is student-centered, based on spiral progression of processes, concepts and skills and grounded in performancebased learning. Thus, the learner is empowered, through active involvement and participation, to effectively correlate music and art to the development of his/her own cultural identity and the expansion of his/her vision of the world.

As Music and Arts are performance-based disciplines, effective learning occurs through active experience, participation, and performance, creative expression, aesthetic valuation, critical response, and interpretation. The skills that are developed include reading/analyzing, listening/observing, performing, (singing, using musical instruments, movement, acting, and playing, using different art materials, techniques and processes, responding, composing, and creating. (See Figure 1 and Figure 2)

The philosophical foundations upon which standards and competencies are based include: A Process of Education by Jerome Bruner, Performance-Based Learning by Cleve Miller, Aesthetic Education by Bennett Reimer, Multiple Intelligences by Howard Gardner, A Structure for Music Education by Ronald Thomas, Gongs and Bamboo by Jose Maceda, Compendium on the Humanities: Musical Arts produced by the National Research Council of the Philippines, Cultural Dictionary for Filipinos by Thelma Kintanar and Associates, Creative and Mental Growth by Viktor Lowenfeld and W. Lambert Brittain, Discipline-Based Art Education by Elliot Eisner, Encyclopedia of Philippine Arts and Tuklas Sining, both produced by the Cultural Center of the Philippines.

K to 12 BASIC EDUCATION CURRICULUM

PHILOSOPHY AND RATIONALE FOR MUSIC EDUCATION

Music is both an aural and a temporal art. All its elements, when interwoven in the highest artistic order, are likened into a -- tapestry moving in time. The global weavings of this tapestry in historical and cultural contexts are diverse -- having spurred a continued metamorphosis to include a full range of purposes, functions, and identities, from the utilitarian to aesthetic.

However, the basic nature of music does not change. In his book A Structure for Music Education, Ronald Thomas articulates that the nature of music is expressive, ongoing, and creative. Through a language and medium of its own, music conveys ideas and feelings in a way that addresses the human spirit, and has great value in its communicative process. Music, being responsive in interpreting contemporary times, is a continuing art. Aaron Copland describes this characteristic as a continuous state of becoming. Like the other arts, music is a creative avenue for man’s individual quest for self- expression and fulfillment.

On these basic characteristics are founded the rationale of music study. A keen sensitivity to environmental and musical sounds needs to be developed. The student must learn to ―hear, ―speak, and ―think in the medium of music. Simultaneously, growth and development in the skills that enable the application of the learner’s knowledge should be encouraged, through active involvement in the various musical processes.

Drawing from the development of music pedagogy through the years, the K-10 Music Curriculum embodies the best practices advocated by the SPIRAL, MULTI-CULTURAL, and INTEGRATIVE approaches in music education, as well as current philosophical tho ught about contemporary general education.

We envision that Music in the K-10 Program will effectively nurture and refine the learner’s artistic expression and cultural literacy, and celebrate his/her national heritage, while it instils, within every individual Filipino learner, pride in his/her own cultural identity.

K to 12 BASIC EDUCATION CURRICULUM

Figure 1. The Curriculum Framework of Music and Arts Education

K to 12 BASIC EDUCATION CURRICULUM

Grade 12Mastery of Proficiency in the chosen form or genre Grade 11Mastery of Proficiency in the chosen form or genre Grade 10Application of Contemporary Music and Arts Grade 9Application – Western Music and Arts Grade 8Application – Asian Music and Arts Grade 7Application – Philippine Folk Music and Arts Grade 6Application for Appropriate Mastery and Acquisition of Skills Grade 5Exploration – Elements / Processes Grade 4Formal Introduction to Elements / Processes Grade 3Preliminary Acquisition of Basic Knowledge and Skills Grade 2Enhanced Understanding of Fundamental Processes Grade 1Introduction to the Fundamental Processes

KindergartenExposure to the Different Music & Art Processes (Experiential Learning)

Figure 2. Content of Music and Arts per Grade Level

K to 12 BASIC EDUCATION CURRICULUM Table 1. Basic Reference for Music Content

Music Elements

Music Processes

-creating)

*No formal instruction in harmony from K to 3

K to 12 BASIC EDUCATION CURRICULUM

LEARNING AREA STANDARD:

The learner demonstrates an understanding of basic concepts and processes in music and art through appreciation, analysis and performance for his/her self-development, celebration of his/her Filipino cultural identity and diversity, and expansion of his/her world vision.

KEY STAGE STANDARDS:

K-3

4-6

7 – 10

The learner demonstrates understanding of

The learner demonstrates understanding of

The learner demonstrates understanding of

fundamental processes through

basic elements and concepts through

salient features of music and art of the

performing, creating, and responding,

performing, creating, and responding, aimed

Philippines and the world, through appreciation,

aimed towards the development of

towards the development of appreciation of

analysis, and performance, for self-

appreciation of music and art, and

music and art, and acquisition of basic

development, the celebration of Filipino cultural

acquisition of basic knowledge and skills.

knowledge and skills.

identity and diversity, and the expansion of one’s world vision.

K to 12 BASIC EDUCATION CURRICULUM GRADE LEVEL STANDARDS:

Grade Level Kindergarten

Grade Level Standards

The learner is exposed to the different basic music and art processes through experiential learning.

Grade 1

The learner demonstrates basic understanding of the fundamental processes in music and art, through performing, creating, listening and observing, and responding.

Grade 2

The learner demonstrates understanding of the basic and fundamental processes in music and art, through performing, creating, listening and observing, and responding.

Grade 3

The learner has acquired the basic and fundamental processes through performing, creating, listening and observing, and responding, towards the development of appreciation of music and art, and the acquisition of basic knowledge and skills.

Grade 4

Through the formal introduction of elements, the learner can identify the basic knowledge and skills in music and art, towards self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.

Grade 5

Through exploration, the learner demonstrates a deeper understanding of basic knowledge and skills in music and art, towards self-development, the celebration of Filipino cultural identity and diversity, and expansion of one’s world vision.

Grade 6

Through application, the learner demonstrates understanding of the basic concepts of and processes in music and art, towards self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.

Grade 7

The learner demonstrates basic understanding of the fundamental processes in music and the arts through performing, creating, listening and observing, and responding towards appreciation of the cultural richness of the different provinces in the Philippines.

Grade 8

The learner demonstrates understanding of salient features of Asian music and the arts, through appreciation, analysis, and performance for selfdevelopment, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.

Grade 9

The learner demonstrates understanding of salient features of Western music and the arts from different historical periods, through appreciation, analysis, and performance for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.

Grade 10

The learner demonstrates understanding of salient features of contemporary music and the arts, through appreciation, analysis, and performance, for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.

K to 12 BASIC EDUCATION CURRICULUM MUSIC - GRADE 10 MUSIC OF THE 20TH CENTURY CONTENT FIRST QUARTER A. Impressionism a) b)

Historical and cultural background Composers: Claude Debussy, and Maurice Ravel

B. Expressionism a) b)

Historical and cultural background Composer: Schoenberg

C. Others a) Electronic music b) Chance music

CONTENT STANDARDS

PERFORMANCE STANDARDS

The Learner…

The Learner...

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

creates musical pieces usingparticular style/s of the 20th Century.

LEARNING COMPETENCY

CODE

The Learner... 1. listens perceptively to selected 20th century music; MU10TC-Ia-h-1

2. describes distinctive musical elements of given pieces in 20th century styles; MU10TC-Ia-h-2

3. relates 20th century music to its historical and cultural background;

4. explains the performance practice (setting, composition, role of composers/performers, th and audience) of 20 century music; 5. sings melodic fragments of given Impressionism period pieces; 6. explores other arts and media that portray 20th century elements through

MU10TC-Ia-g-3

MU10TC-Ib-g-4

MU10TC-Ib-5

MU10TC-Ic-h-6

LEARNING MATERIALS *Edukasyong Pangkatawan, Kalusugan at Musika. Sacdalan, Guinevere IV. et al, 1999. pp.182, 203-208 *Edukasyong Pangkatawan, Kalusugan at Musika. Sacdalan, Guinevere IV. et al, 1999. pp. 203208 *Edukasyong Pangkatawan, Kalusugan at Musika. Sacdalan, Guinevere IV. et al, 1999. pp. 203208 *Edukasyong Pangkatawan, Kalusugan at Musika. Sacdalan, Guinevere IV. et al, 1999. pp. 203208

K to 12 BASIC EDUCATION CURRICULUM CONTENT A. Impressionism a) b)

Historical and cultural background Composers: Claude Debussy, and Maurice Ravel

CONTENT STANDARDS

PERFORMANCE STANDARDS

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

creates musical pieces usingparticular style/s of the 20th Century.

LEARNING COMPETENCY

CODE

video films or live performances; 7. create short electronic and chance music pieces using knowledge of 20th century styles.

B. Expressionism a)

Historical and cultural background b) Composer: Schoenberg

MU10TC-Ic-h-7

C. Others a) Electronic music b) Chance music

SECOND QUARTER AFRO-LATIN AND POPULAR MUSIC 1. Historical and (cultural background of African and Latin American music 2. Background of Popular music 3. African music a. Rhythms: Maracatu b. Vocal forms: blues, soul, spiritual, call

The Learner…

The Learner...

demonstrates understanding of characteristic features of Afro-Latin American music and Popular music

performs vocal and dance forms of Afro-Latin American music and selections of Popular music

The Learner... 1. observes dance styles, instruments, and rhythms of Afro Latin American and popular music through video, movies and live performances; 2. describes the historical and cultural background of AfroLatin American and popular music;

MU10AP-IIa-g1

MU10AP-IIa-g2

LEARNING MATERIALS

K to 12 BASIC EDUCATION CURRICULUM CONTENT

CONTENT STANDARDS

PERFORMANCE STANDARDS

and response 4. Latin American music a. Instruments b. Vocal and Dance form: Cumbia, tango, cha-cha. Rumba, bossanova, reggae, foxtrot, pasa doble 5. Jazz a. Instrumental forms: ragtime, big band, bebop, jazz rock 6. Popular music a. Ballad, standard, rock and roll, alternative music, disco

demonstrates understanding of characteristic features of Afro-Latin American music and Popular music

performs vocal and dance forms of Afro-Latin American music and selections of Popular music

LEARNING COMPETENCY 3. listens perceptively to AfroLatin 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.

THIRD QUARTER CONTEMPORARY PHILIPPINE MUSIC (Minimum of 4 composers for each)

The Learner…

The Learner...

demonstrates understanding of characteristic features of contemporary music

sings contemporary songs sings contemporary songs

The Learner... 1. listens perceptively to excerpts of major Contemporary works;

CODE MU10AP-IIa-h3 MU10AP-IIa-h4 MU10AP-IIa-h5 MU10AP-IIa-h6

MU10AP-IIa-7

MU10AP-IIe-f8 MU10AP-IIb-d9

MU10AP-IIa-h10

MU10CM-IIIah-1

LEARNING MATERIALS

K to 12 BASIC EDUCATION CURRICULUM CONTENT 1. Traditional Composers a. Lucio San Pedro b. Antonino Buenaventura c. Antonio Molina d. Alfredo Buenaventura e. Rodolfo Cornejo f. Bernardino Custodio g. Antonio Buencamino h. Hilarion Rubio i. Rosendo Santos j. Ryan Cayabyab 2. New Music a. b. c. d. e. f. g. h.

Chino Toledo Ramon Santos Jose Maceda Manuel Maramba Lucresia Kasilag Francisco Feliciano Jerry Dadap Jonas Baes

CONTENT STANDARDS demonstrates understanding of characteristic features of contemporary music

PERFORMANCE STANDARDS

LEARNING COMPETENCY 2. describes characteristics of traditional and new music; 3. gives a brief biography of selected Contemporary Philippine composer/s ;

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. create a musical on the life of a selected contemporary Philippine composer;

CODE MU10CM-IIIah-2

MU10CM-IIIcg-3

MU10CM-IIIbh-4 MU10CM-IIIde-5 MU10CM-IIIde-5

MU10CM-IIIgh-7

3. Song Composer a. Constancio de Guzman b. Mike Velarde c. Ernani Cuenco d. Restie Umali e. George Canseco f. Levi Celerio g. Angel Pena h. Leopoldo Silos i. Santiago Suarez

8. evaluates music and music performances using knowledge of musical elements and style.

LEARNING MATERIALS

MU10CM-IIIh8

*Edukasyong Pangkatawan, Kalusugan at Musika. Sacdalan, Guinevere IV. et al, 1999. pp.209220, 247-259

K to 12 BASIC EDUCATION CURRICULUM CONTENT FOURTH QUARTER 20th and 21st century MULTIMEDIA FORMS 1. OPERA

a) La Loba Negra b) Noli Me Tangere c) El Filibusterismo

2.

BALLET

a) Lola Basyang b) Rama Hari

3. MUSICAL PLAY a) Andres Bonifacio b) Atang c) Katy d) Florante at Laura e) Daragang

Magayon f) Noli Me Tangere g) El Filibusterismo h) Magsimula ka

CONTENT STANDARDS

The Learner… 1. demonstrates understanding of characteristic features of 20th and 21st century opera musical play, ballet and other multimedia forms. 2. demonstrates understanding of the relationship among music, technology, and media.

PERFORMANCE STANDARDS

The Learner... 1. performs selections from musical plays, ballet, opera in a satisfactory level of performance. 2. creates a musical work using media & technology.

LEARNING COMPETENCY 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. present an excerpt from a 20th or 21st century Philippine musical and highlight its similarities and differences to other western musical play.

CODE

MU10MM-IIIah-1

MU10MM-IIIah-2

MU10MM-IIIch-3

MU10MM-IIIch-4

MU10MM-IIIgh-5

LEARNING MATERIALS

Republic of the Philippines Department of Education DepEd Complex, Meralco Avenue Pasig City

K to 12 Curriculum Guide

ART (Grade 10)

December 2013

K to 12 BASIC EDUCATION CURRICULUM CONCEPTUAL FRAMEWORK

Both the Music and the Arts curricula focus on the learner as recipient of the knowledge, skills, and values necessary for ar tistic expression and cultural literacy. The design of the curricula is student-centered, based on spiral progression of processes, concepts and skills and grounded in performancebased learning. Thus, the learner is empowered, through active involvement and participation, to effectively correlate music and art to the development of his/her own cultural identity and the expansion of his/her vision of the world.

As Music and Arts are performance-based disciplines, effective learning occurs through active experience, participation, and performance, creative expression, aesthetic valuation, critical response, and interpretation. The skills that are developed include reading/analyzing, listening/observing, performing, (singing, using musical instruments, movement, acting, and playing, using different art materials, techniques and processes, responding, composing, and creating. (See Figure 1 and Figure 2)

The philosophical foundations upon which standards and competencies are based include: A Process of Education by Jerome Bruner, Performance-Based Learning by Cleve Miller, Aesthetic Education by Bennett Reimer, Multiple Intelligences by Howard Gardner, A Structure for Music Education by Ronald Thomas, Gongs and Bamboo by Jose Maceda, Compendium on the Humanities: Musical Arts produced by the National Research Council of the Philippines, Cultural Dictionary for Filipinos by Thelma Kintanar and Associates, Creative and Mental Growth by Viktor Lowenfeld and W. Lambert Brittain, Discipline-Based Art Education by Elliot Eisner, Encyclopedia of Philippine Arts and Tuklas Sining, bothproduced by the Cultural Center of the Philippines.

K to 12 BASIC EDUCATION CURRICULUM PHILOSOPHY AND RATIONALE FOR ARTS

The Arts has been present since the beginning of civilization as it is an essential means for man to live and communicate with others. It has been used to enhance man’s life and surroundings, to express his thoughts, dreams, and spiritual beliefs, and to share his own and his community’s aspirations, celebrations, and events. Arts records, reflects, and rearranges man’s life and existence.

The Arts is a visualization of a people’s history and uniqueness, a reflection of their creativity and accomplishments, and a visible expression of their distinct way of thinking, communicating, reasoning, and worshiping. It is expressed in a unique symbol system that is visual, kinetic and tactile. Howard Gardner, an educator and psychologist, affirms that the arts develop the child’s “SPATIAL, INTRAPERSONAL, LINGUISTIC AND KINESTHETIC INTELLIGENCES” for the Arts develop a distinct way of seeing, thinking, communicating, and creating in a person. Furthermore, Art develops and increases a person’s ability to apply creative and new solutions, for new problems in our world. Schools, therefore, need to develop the multiple intelligences of a student through the arts. The K12 Arts Curriculum seeks to address these needs of our students for the 21st Century.

The 21st Century is a different world: it is highly visual, with a proliferation of images seen not only in static media like magazines, books, paintings and posters. Now images are kinetic and accessible in various media like television, outdoor advertisements, movies, cell phones, and new technologies like iPads, iPods, DVD players, personal computers, and tablets. Artists create, upload and share via the Internet, images, sounds, texts, films, videos, pictures, artworks and designs. These are readily available and interactive, involving the viewer to react, comment and utilize these visuals through the Internet. Teaching Art to students is one way for them to process and interpret the barrage of images and sounds, in a critical and intelligent manner. The focus of the K-12 Art curriculum is PHILIPPINE ART, CULTURE and HERITAGE, appreciating the diversity of our local artists, our arts, crafts, and indigenous materials to strengthen the student’s identity of being Filipino, before he/she is introduced to the art of other countries. The modules guide educators and provide our students with art experiences, concepts, and processes that are presented in a SPIRAL PROGRESSION of difficulty and depth from Kindergarten to Grade 12.

The approach is CHILD-CENTERED and HANDS-ON in creating art using locally available materials. It develops the student’s imagination and individual expression, and his/her CRITICAL THINKING SKILLS through inquiry into the aesthetic qualities of his work, the work of others and of artists from the Philippines and other parts of the world. It culminates in connecting art to other subject areas and provides exposure and apprenticeship to professionals in various art-related fields so the student can discover and consider the different career opportunities in the arts.

K to 12 BASIC EDUCATION CURRICULUM

Figure 1. The Curriculum Framework of Music and Art Education

K to 12 BASIC EDUCATION CURRICULUM

Grade 12Mastery of Proficiency in the chosen form or genre Grade 11Mastery of Proficiency in the chosen form or genre Grade 10Application of Contemporary Music and Arts Grade 9Application – Western Music and Arts Grade 8Application – Asian Music and Arts Grade 7Application – Philippine Folk Music and Arts Grade 6Application for Appropriate Mastery and Acquisition of Skills Grade 5Exploration – Elements / Processes Grade 4Formal Introduction to Elements / Processes Grade 3Preliminary Acquisition of Basic Knowledge and Skills Grade 2Enhanced Understanding of Fundamental Processes Grade 1Introduction to the Fundamental Processes KindergartenExposure to the Different Music & Art Processes (Experiential Learning)

Figure 2. Content of Music and Art per Grade Level

K to 12 BASIC EDUCATION CURRICULUM Table 1. Basic Reference for Music and Art Content Music Elements

Arts Elements and Principles

-creating)

Texture

Music Processes

Shape/Form

*

Art Processes

-creating)

Contrast

*No formal instruction in harmony (transference) from K to 3

K to 12 BASIC EDUCATION CURRICULUM LEARNING AREA STANDARD:

The learner demonstrates an understanding of basic concepts and processes in music and art through appreciation, analysis and performance for his/her self-development, celebration of his/her Filipino cultural identity and diversity, and expansion of his/her world vision.

KEY STAGE STANDARDS:

K-3

The learner demonstrates understanding of fundamental processes through performing, creating, and responding, aimed towards the development of appreciation of music and art, and acquisition of basic knowledge and skills.

4–6

The learner demonstrates understanding of basic elements and concepts through performing, creating, and responding, aimed towards the development of appreciation of music and art, and acquisition of basic knowledge and skills.

7 – 10

The learner demonstrates understanding of salient features of music and art of the Philippines and the world, through appreciation, analysis, and performance, for selfdevelopment, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.

K to 12 BASIC EDUCATION CURRICULUM GRADE LEVEL STANDARDS:

Grade Level

Grade Level Standards

Grade 1

The learner demonstrates basic understanding of the fundamental processes in music and art, through performing, creating, listening and observing, and responding.

Grade 2

The learner demonstrates basic and fundamental processes in music and art, through performing, creating, listening and observing, and responding.

Grade 3

The learner has acquired the basic and fundamental processes through performing, creating, listening and observing, and responding, towards the development of appreciation of music and art, and the acquisition of basic knowledge and skills.

Grade 4

Through the formal introduction of elements, the learner can identify the basic knowledge and skills in music and art, towards self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.

Grade 5

Through exploration, the learner demonstrates a deeper understanding of basic knowledge and skills in music and art, towards self-development, the celebration of Filipino cultural identity and diversity, and expansion of one’s world vision.

Grade 6

Through application, the learner demonstrates understanding of the basic concepts of and processes in music and art, towards self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.

Grade 7

The learner demonstrates basic understanding of the fundamental processes in music and the arts through performing, creating, listening and observing, and responding towards appreciation of the cultural richness of the different provinces in the Philippines.

Grade 8

The learner demonstrates understanding of salient features of Asian music and the arts, through appreciation, analysis, and performance for selfdevelopment, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.

Grade 9

The learner demonstrates understanding of salient features of Western music and the arts from different historical periods, through appreciation, analysis, and performance for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.

Grade 10

The learner demonstrates understanding of salient features of contemporary music and the arts, through appreciation, analysis, and performance, for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.

K to 12 BASIC EDUCATION CURRICULUM GRADE 10 CONTENT

CONTENT STANDARDS

PERFORMANCE STANDARDS

LEARNING COMPETENCY

CODE

GRADE 10- FIRST QUARTER MODERN ART a. b. c. d. e. f. g. h. i. j.

Impressionism Expressionism Cubism Dadaism Surrealism Abstract Realism Pop Art Op Art Performance Art Happenings and Mob

I. Principles of Art 1. Rhythm, Movement 2. Balance 3. Emphasis 4. Harmony, Unity, and Variety 5. Proportion II. Process: 6. Painting and/ or Drawing 7. Sculpture and Assemblage 8. Mounting an exhibit: 2.1 Concept 2.2 Content / Labels 2.3 Physical layout

The learner…

The learner…

The learner…

1. art elements and processes by synthesizing and applying prior knowledge and skills

1. performs/ participate competently in a presentation of a creative impression (verbal/nonverbal) from the various art movements

1. analyze art elements and principles in the production of work following a specific art style from the various art movements

2. recognize the difference and uniqueness of the art styles of the various art movements (techniques, process, elements, and principles of art)

2. identify distinct characteristics of arts from the various art movements

2. the arts as integral to the development of organizations, spiritual belief, historical events, scientific discoveries, natural disasters/ occurrences and other external phenomenon

3. identify representative artists and Filipino counterparts from the various art movements 4. reflect on and derive the mood, idea, or message from selected artworks 5. determine the role or function of artworks by evaluating their utilization and combination of art elements and principles 6. use artworks to derive the traditions/history of the various art movements

A10EL-Ib-1

A10EL-Ia-2

A10EL-Ia-3

A10PL-Ih-1

A10PL-Ih-2

A10PL-Ih-3

K to 12 BASIC EDUCATION CURRICULUM CONTENT MODERN ART a. Impressionism b. Expressionism c. Cubism d. Dadaism e. Surrealism f. Abstract Realism g. Pop Art h. Op Art i. Performance Art j. Happenings and Mob I. Principles of Art 1. Rhythm, Movement 2. Balance 1. Emphasis 2. Harmony, Unity, and Variety 3. Proportion II. Process: 4. Painting and/ or Drawing 5. Sculpture and Assemblage 6. Mounting an exhibit: 6.1 Concept 6.2 Content / Labels 6.3 Physical layout

CONTENT STANDARDS

PERFORMANCE STANDARDS

1. art elements and processes by synthesizing and applying prior knowledge and skills

1. performs/ participate competently in a presentation of a creative impression (verbal/nonverbal) from the various art movements

2. the arts as integral to the development of organizations, spiritual belief, historical events, scientific discoveries, natural disasters/ occurrences and other external phenomenon

2. recognize the difference and uniqueness of the art styles of the various art movements (techniques, process, elements, and principles of art)

LEARNING COMPETENCY 7. compare the characteristics of artworks produced in the various art movements

CODE

A10PL-Ih-4

8. create artworks guided by techniques and styles of the various art movements (e.g., Impasto, Encaustic, etc.)

A10PR-Ic-e-1

9. describe the influence of iconic artists belonging to the various art movements

A10PR-Ic-e-2

10. apply different media techniques and processes to communicate ideas, experiences, and stories showing the characteristics of the various art movements (e.g., the use of industrial materials or found objects, Silkscreen Printing, etc.)

A10PR-Ic-e-3

11. evaluate works of art in terms of artistic concepts and ideas using criteria from the various art movements 12. show the influences of Modern Art movements on Philippine art forms

A10PR-If-4

A10PR-I-f-5

K to 12 BASIC EDUCATION CURRICULUM CONTENT

CONTENT STANDARDS

PERFORMANCE STANDARDS

LEARNING COMPETENCY 13. mount exhibit using completed artworks influenced by Modern Art movements

CODE

A10PR-I-g-6

GRADE 10- SECOND QUARTER TECHNOLOGY-BASED ART

The learner…

The learner…

1. The learner…

I. Computer/Digital Arts 1. Cellular Phones (photos and videos) 2. Computer-generated Images 3. Digital Photography (DLSR and Point-and-Shoot) 4. Video Games 5. Digital Painting and Imaging Videos – TV & Film

new technologies that allow new expressions in arts using art elements and processes

create a tech-based artwork (video clips and printed media such as posters, menus, brochures etc.) relating to a selected topic from the different learning areas using available technologies, e.g., food and fashion

1. identify art elements in the technology-based production arts

II. Principles of Art 6. Rhythm, Movement 7. Balance 8. Emphasis 9. Harmony, Unity, and Variety Proportion III. Process: 10. computer manipulation 11. light setting 12. digital enhancements 13. printing 14. digital circulation

A10EL-IIb-1

2. identify distinct characteristics of arts during in the 21st century in terms of: 2.1 production 2.2 functionalityrange of audience reach

A10EL-IIa-2

3. identify artworks produced by technology from other countries and their adaptation by Philippine artists

A10EL-IIa-3

4. realize that technology is an effective and vibrant tool for empowering a person to express his/her ideas, goals, and advocacies, which elicits immediate action 5. determine the role or function of artworks by evaluating their utilization

A10PL-IIh-1

A10PL-IIh-2

K to 12 BASIC EDUCATION CURRICULUM CONTENT TECHNOLOGY-BASED ART I. Computer/Digital Arts 1. Cellular Phones (photos and videos) 2. Computer-generated Images 3. Digital Photography (DLSR and Point-and-Shoot) 4. Video Games 5. Digital Painting and Imaging Videos – TV & Film II. Principles of Art 6. Rhythm, Movement 7. Balance 8. Emphasis 9. Harmony, Unity, and Variety Proportion III. 10. 11. 12. 13. 14.

Process: computer manipulation light setting digital enhancements printing digital circulation

CONTENT STANDARDS

PERFORMANCE STANDARDS

new technologies that allow new expressions in arts using art elements and processes

create a tech-based artwork (video clips and printed media such as posters, menus, brochures etc.) relating to a selected topic from the different learning areas using available technologies, e.g., food and fashion

LEARNING COMPETENCY and combination of art elements and principles 6. use artworks to derive the traditions/history of a community (e.g., landscapes, images of people at work and play, portrait studies, etc.) 7. compare the characteristics of artworks in the21st century 8. create artworks that can be locally assembled with local materials, guided by 21st-centurytechniques 9. describe the influence of technology in the 21st centuryon the evolution of various forms of art 10. apply different media techniques and processes to communicate ideas, experiences, and stories showing the characteristics of 21stcenturyart (e.g., the use of graphic software like Photoshop, InDesign, etc.) 11. evaluate works of art in terms of artistic concepts and ideas using criteria

CODE

A10PL-IIh-3

A10PL-IIh-4

A10PR-IIc-e-1

A10PR-IIc-e-2

A10PR-IIb-e-3

A10PR-IIf-4

K to 12 BASIC EDUCATION CURRICULUM CONTENT

CONTENT STANDARDS

PERFORMANCE STANDARDS

LEARNING COMPETENCY appropriate for the style or form 12. mount an exhibit of completed technologybased artworks

CODE

A10PR-II-g-5

GRADE 10- THIRD QUARTER MEDIA-BASED ARTS AND DESIGN IN THE PHILIPPINES I. Photography 1. George Tapan 2. John Chua II. Film 1. Brillante Mendoza 2. Maryo J. de los Reyes 3. Laurice Guillen

The learner…

The learner…

The learner...

1. art elements and processes by synthesizing and applying prior knowledge and skills

create artworks using available media and natural resources on local topics, issues, and concerns such as environmental advocacies ecotourism, and economic and livelihood projects

1. identify art elements in the various media-based arts in the Philippines

2. new technologies that allow new expressions in the arts

III. Animation 4. Animation Council of the Philippines 5. Philippine Animation Studio Inc.

4. determine the role or function of artworks by evaluating their utilization and combination of art elements and principles

IV. Print Media 6. Advertisements 7. Comic books V. Digital Media 8. Webpage Design 9. Game Development VI. Innovations in Product & Industrial Design

2. identify representative artists as well as distinct characteristics of mediabased arts and design in the Philippines 3. realize that Filipino ingenuity is distinct, exceptional, and on a par with global standards

5. use artworks to derive the traditions/history of a community 1. art elements and processes by synthesizing and

create artworks using available media and natural resources on local topics,

6. create artworks that can be assembled with local materials

A10EL-IIIb-1

A10EL-IIIa-2

A10PL-IIIh-1

A10PL-IIIh-2

A10PL-IIIh-3

A10PR-IIIc-e-1

K to 12 BASIC EDUCATION CURRICULUM CONTENT 10. Kenneth Cobonpue, Monique Lhuillier, Josie Natori, Lulu Tan Gan, Ditas Sandico-Ong, Rajo Laurel, Aze Ong VII. Principles of Art 11. Rhythm, Movement 12. Balance 13. Emphasis 14. Harmony, Unity, and VarietyProportion

CONTENT STANDARDS applying prior knowledge and skills 2. new technologies that allow new expressions in the arts

PERFORMANCE STANDARDS issues, and concerns such as environmental advocacies ecotourism, and economic and livelihood projects

VIII. Process: 15. painting 16. drawing 17. constructing 18. assembling 19. printing 20. carving

LEARNING COMPETENCY

CODE

7. describe the characteristics of mediabased arts and design in the Philippines

A10PR-IIIc-e-2

8. apply different media techniques and processes to communicate ideas, experiences, and stories (the use of software to enhance/animate images like Flash, Movie Maker, Dreamweaver, etc.)

A10PR-IIIc-e-3

9. evaluate works of art in terms of artistic concepts and ideas using criteria appropriate for the style or form of media-based arts and design 10. mount a media-based exhibit of completed artworks

A10PR-IIIf-4

A10PR-IIIg-5

GRADE 10- FOURTHQUARTER ORIGINAL PERFORMANCE WITH THE USE OF MEDIA I. Philippine Theater Groups 1. PETA 2. Repertory Philippines 3. Trumpets 4. Tanghalang Pilipino 5. New Voice Company

The learner…

The learner…

The learner…

1. how theatrical elements (sound, music, gesture, movement, and costume) affect the creation and communication of

1. create appropriate costumes, props, set accessories, costumes improvised lighting and other décor for Philippine plays

1. explains how an idea or theme is communicated in a selected performance through the integration of musical sounds, songs, dialogue and dance

A10EL-IVb-4

K to 12 BASIC EDUCATION CURRICULUM CONTENT 6. Atlantis Productions II. Local Performing Groups III. Roles in a production 7. director 8. actor 9. choreographer 10. stage manager 11. light designer 12. set designer IV. Elements of Art as Applied to an Original Performance: 13. Sound & Music 14. Gesture, Movement, and Dance 15. Costume, Mask, Makeup, and Accessories 16. Spectacle V. Principles of Art 17. Rhythm, Movement 18. Balance 19. Emphasis 20. Harmony, Unity, and Variety 21. Proportion VI. Process 22. Designing for stage, costume, and props of a selected theatrical play 23. Choreographing movement patterns and figures

CONTENT STANDARDS meaning in a theater play/performance incorporated with media 2. theater and performance as a synthesis of arts

PERFORMANCE STANDARDS 2. create/improvise appropriate sound, music, gesture, and movements for a chosen theatrical composition 3. participate in an original performance inspired by local Philippine stories, myths, and events relevant to current issues

LEARNING COMPETENCY 2. analyzes examples of plays based on theatrical forms, and elements of art as applied to performance 3. illustrate how the different elements are used to communicate the meaning 4. define the uniqueness of each original performance 5.

6.

7.

8.

9.

design with a group the visual components of a school play (stage design, costume, props, etc.) assume the role of a character as an actor/performance, or production staff (director, choreography, light designer, stage manager) analyze the uniqueness of the group that was given recognition for its performance and explain what component contributed to its selection contribute to the conceptualization of an original performance choreograph the movements and gestures needed in the effective delivery of an original

CODE

A10EL-IVa-2

A10EL-IVc-3

A10PL-IVh-1

A10PR-IVe-1

A10PR-IVh-2

A10PR-IVh-3

A10PR-IVd-4

A10PR-IVf-g-5

K to 12 BASIC EDUCATION CURRICULUM CONTENT

CONTENT STANDARDS

PERFORMANCE STANDARDS

LEARNING COMPETENCY performance with the use of media 10. improvise accompanying sound and rhythm needed in the effective delivery of an original performance with the use of different media

CODE

A10PR-IVf-g-6

K to 12 BASIC EDUCATION CURRICULUM CODE BOOK LEGEND Sample: A10PR-If-4 LEGEND Learning Area and Strand/ Subject or Specialization

Art

First Entry

Uppercase Letter/s

DOMAIN/ COMPONENT

SAMPLE

Roman Numeral

Grade Level

Grade 10

Domain/Content/ Component/ Topic

Process

Quarter

First Quarter

I

Week

Week six

f -

Arabic Number

EL

Principles

PL

Processes

PR

PR

Lowercase Letter/s

*Put a hyphen (-) in between letters to indicate more than a specific week

Elements A10

-

*Zero if no specific quarter

CODE

Competency

Evaluate works of art in terms of artistic concepts and ideas using criteria from the various art movements

4

Quarter I: Music of the 20th Century

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)

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MUSIC Teacher’s Guide

QUARTER I MUSIC OF THE 20TH CENTURY Sessions 1, 2, 3, 4, and 5 IMPRESSIONISM TO MODERN NATIONALISM

I.

SUBJECT MATTER A.

Topic:

20th Century Musical Styles: Impressionism to Modern Nationalism

Sub-topics: Impressionism Expressionism Neo-Classicism Avant-Garde Modern 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.

II.

Reference: Music Grade 10 LM - Pages 3-24

LESSON PROPER A.

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

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Quarter I: Music of the 20th Century

2. Motivation a. Display pictures or posters of the paintings of impressionist painter Claude Monet, expressionist Jose Joya, and post-impressionist Van Gogh on the wall or board of the classroom. Let the students go around 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 from YouTube on Impressionist, Expressionist, Neo-Classicist, Avant-Garde, and Modern Nationalist music, while looking at the pictures of the paintings. 2. Ask them to analyze the characteristics and styles of each through discussion and sharing of insights. 3. Let them compare the paintings with their counterpart in music, in terms of the elements and characteristics of each. 4. Ask them to share their impressions, experiences, thoughts, and feelings after listening to the music and discussing all these.

C.

INTEGRATION 1. Integration of Music with Arts, Literature, and History through the use of paintings and music recordings. 2. Role playing - Call on volunteer students to depict the socio-historical context 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 achieve one’s goals and control situations.

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MUSIC Teacher’s Guide

D.

GENERALIZATION The 20th century styles of impressionism and expressionism provided composers with the opportunity to express their thoughts based on outside impressions as well as ideas and expressions based on their inner convictions. Other forms that emanated included neo-classicism, which is a return to the classical form and structure using modern harmonies and techniques of composition; avant garde, which deals with the parameters of sound in space; and Modern Nationalism, which is a combination of nationalist thematic 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 Debussy Ravel Schoenberg Stravinsky Bartok Prokofieff Poulenc Gershwin Glass Bernstein

Musical Work _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________

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Quarter I: Music of the 20th Century

IV.

WHAT TO PROCESS Listening Activity: Works of 20th Century Composers 1.

V.

You will play excerpts of any (one) of the following musical examples: Debussy Ravel Schoenberg

– – –

Bartok

–

Stravinsky Prokofieff Gershwin

– – –

Bernstein Glass Poulenc

– – –

Claire de Lune, La Mer, Children’s Corner Suite Miroirs, Sonatine, Daphnis et Chloe, Jeux d’Eau, Bolero Verklarte Nacht, Violin Concerto, Piano Concerto, Gurrelieder String Quartet no. 4, Allegro, Mikrokosmos, Barbaro, Music for Strings The Rite of Spring, Petrouchka, The Firebird Suite Romeo and Juliet (ballet), Piano Sonatas An American in Paris, Porgy and Bess, Rhapsody in Blue, Someone to Watch Over Me Tonight from West Side Story, Clarinet Sonata Einstein on the Beach, Satyagraha, Akhnaten Concerto for Two Pianos, Dialogues des Carmelites

2.

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

3.

Let them choose a composition that they like. Let them write a short reaction paper on it.2. Listen carefully to each excerpt and be able to recognize the distinct musical style of each composer.

4.

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

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 of compositions 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 in each line goes to the board and writes the name of the composer. The

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MUSIC Teacher’s Guide

second student will write the title of the music. The third student will write the musical style. Then, the fourth student will write a description of 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 had their turn. 6. Assign one student to tally the scores and announce the winners. The team with the highest score is the winner. In case of a tie, the first team to finish is the winner. 7. After proclaiming the winners, the scorer will ask this question: What was 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 portray 20th century musical styles (impressionism, expressionism, jazz, avant garde) through a 10-minute video clip or MTV using their digital cameras or 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 what they watched. Assign other groups to do the video recording. 2. Have the students watch live performances of musical concerts, if available in their area, or let them watch live concerts recorded on TV or the internet (YouTube). 3. Let them re-enact in class what they have watched.

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Quarter I: Music of the 20th Century

4. Let the groups assign members to make a 10-minute audio video presentation, while the other members re-enact what they have seen on live 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. and briefly discuss the title, composer, and musical style of each. 2. Let the class listen carefully to each excerpt and be able to recognize the 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 with the recordings: a. Claude Debussy’s Claire de Lune b. Leonard Bernstein’s West Side Story c. George Gershwin’s Rhapsody in Blue d. Ravel’s Bolero e. Any work of minimalist composers, Philip Glass or Meredith Monk f. Any work of nationalist composers, Erik Satie or Bela Bartok. 4. Based on the melodic fragments of the excerpts that they sang or hummed, they should be able to aurally identify the different selected works of the composers of the 20th century by naming the title and composer in a random short quiz (5 points). 5. Have the students choose a composition that they like. Ask them to write a brief profile about the composer, and to also give their personal reactions 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 containing slips of paper with the names of Debussy, Ravel, Gershwin, Bernstein, Glass, Monk, Satie, and Bartok written on them.

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MUSIC Teacher’s Guide

2. Divide the class into four groups. Each group will choose four representatives who will be assigned as contestants. 3. Each contestant will draw a composer’s name from the box and must say three sentences about his compositional technique or musical style, his major contribution to modern music, and one work that shows his compositional style. 4. The rest of the groups will evaluate each contestant’s answer by flashing a card or paper marked “CORRECT” or “WRONG.” Each correct answer 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 Side Story written by Leonard Bernstein. 2. Instruct them to watch any video clip of West Side Story on the internet or YouTube. 3. Let them write a reaction paper explaining the following elements of the performance: a. Setting b. Musical compositions c. Role of composer and lyricist d. Role of performers (actors, actresses) e. Role of the audience (students) f. Sound and musical direction g. Script / screenplay h. Props, costumes, lighting 4. Divide the class into groups. Ask them these questions: Did you like what 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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Quarter I: Music of the 20th Century

1. The students may opt to do this as an individual or group activity. Groups will be divided into four. 2. Let the students listen to the songs Tonight, Maria, Somewhere, and America from video or recordings of West Side Story. Ask them to draw lots for the song to sing. 3. Have them sing and perform their song in class, with or without accompaniment. They may also sing with the recordings. 4. Let those students who are not performing act as judges for the performance 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 Performance a. 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 an instrument (either as accompaniment to the song or dance, or a solo performance or as a band). They may use props and costumes, if needed. c. Let the groups perform in class their own original interpretation of the songs from West Side Story. 2. Recording or Music Video: Individual or Group Activity a. 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, digital camera, or video camera.

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MUSIC Teacher’s Guide

c. Have them play the recorded performance or show the music video to their classmates. The groups in the video or recording will choose the “Best Performers.” d. You will also rate the students’ performance based on the criteria below. e. Choose the “Best Video Presentation” based on creativity (50%) and presentation (50%). Evaluation of Performing Activities Let the students answer the following: Rating scale: 5 4 3

= Very Good = Good = Fair

2 1

= Poor = Needs Follow-up

Rate scores are based on your performance quality. 1.

2

3.

4.

How well did I perform the songs from West Side Story?

____________

How well can I identify the different musical genres based on instrumentation, text, and purpose?

____________

How well can I describe the characteristics of each through listening to their melody, harmony, rhythm, text, and mass appeal?

____________

How well did I participate in the performance of the 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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Quarter I: Music of the 20th Century

VII.

EVALUATION Let the students answer the following: 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 and to view it for additional inights on 20th century music: Young People’s Concert: What is Impressionism by Leonard Bernstein They may also search for Bernstein’s other video lectures on music.

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MUSIC Teacher’s Guide

QUARTER I MUSIC OF THE 20TH CENTURY Sessions 6, 7, and 8 20TH CENTURY MUSICAL STYLES: ELECTRONIC AND CHANCE MUSIC

I.

SUBJECT MATTER A.

Topic:

20th Century Musical Styles: Electronic and Chance Music

Sub-topics : Electronic Music Chance Music Composers (Cage, Stockhausen, Varese) B.

Materials : DVD / CD recordings /video clips/ recordings from YouTube or the internet of Electronic and Chance Music CD/VCD/DVD/Karaoke players, computers, laptops, netbooks, tablets, i pads, mobile phones, MP3/MP4 players Pictures, slides, video clips of musical gadgets used especially in Electronic Music Sound makers like stones, rice, radios, horns, and kitchen utensils

C.

II.

Reference: Music Grade 10 LM. Pages 25-30

LESSON PROPER A.

PRELIMINARY ACTIVITY 1. Review: Let the students go over the concepts they have learned about Impressionism, Expressionism, Modern Nationalism, Neo-Classicism and 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, singing with a microphone, just holding a guitar, or holding any other musical instrument for 3 minutes without playing these.

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Quarter I: Music of the 20th Century

b. Discuss the performance and get reactions and observations from the class. What did they think? hear? see? feel? touch? smell? c. Use the experience as a bridge to the topic of the lesson.

B.

DEVELOPMENTAL ACTIVITY 1. Let the students listen attentively to CD recordings of Electronic and Chance Music. 2. Ask them to define/describe each of the two musical styles introduced in the recordings they listened to. 3. Discuss the history, characteristics, and operations of the two kinds of musical styles. 4. Have the students experiment with sounds on materials they had brought to 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 in the classroom. 6. Use new electronic equipment (if available) to listen to different sounds from the instruments (Example: synthesizer, cassette tape recorder, DVD player, karaoke, and others that you may think of).

C.

INTEGRATION 1. Integrate the use of electronic equipment, if available, and other materials that can produce sound as well as the use of modern technology gadgets in Music with lessons in Physics, Vocational Education, and Technology and Livelihood Education (TLE). 2. Show a picture of an action painting by Jackson Pollock and compare it with chance music. Infusion of values: Appreciation of the beauty of nature and the realization of their contribution to the environment.

D.

GENERALIZATION The modern musical tradition experimented with new sounds in classical music through such styles as Electronic Music and Chance Music. Through this experimentation, the novelty of sounds emanating from sources other than the traditional musical instruments played a major role in the compositions being created.

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MUSIC Teacher’s Guide

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

IV.

Musical Work

Varese Stockhausen

___________________________ ___________________________

Cage

___________________________

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 Wind Instruments, for wind quintet

Stockhausen –

Etude, Electronic STUDIES I and II, Gesang der Junglinge, 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 recognize the distinct musical style of each composer.

3.

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

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Quarter I: Music of the 20th Century

4.

V.

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

WHAT TO UNDERSTAND Name the Composer, Title of the Music, Musical Style, and Description

VI.

1.

After the Listening Activity, prepare selected excerpts of compositions by Stockhausen, 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 in each line goes to the board and writes the name of the composer. The second student will write the title of the music. The third student will write the musical style. Then, the fourth student will write a description of 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 had their turn.

6.

Assign one student to be the scorer. The team with the highest score 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 this activity?

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’s contents on a hard surface. Then, using a cellphone or other available device, record the sounds that are produced.

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MUSIC Teacher’s Guide

Put the items back in the bag. Then unload the same, while once again recording the sounds being produced. Note the changes between the two sets of sounds recorded. 2. Electronic Music – Create short electronic music pieces using your knowledge 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, melodic appeal, harmony and texture, tempo and dynamics, timbre, and overall musical 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 Chance Music and Electronic Music (if available) to be performed in class. 3. Those who are not performing will act as judges for the performance evaluation. 4. Judges will have five placards, score cards, or paper sheets marked: BEST, BETTER, GOOD, FAIR, NEEDS FOLLOW UP. They will display 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 the audience in the performance of Chance Music? Explain your answers.

C.

Performance Activity 3: Group Activity Video Clips 1. Divide the class into four groups by counting off from 1 to 4.

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Quarter I: Music of the 20th Century

2. Let each group create and explore other arts (multi- media) that portray 20th century musical styles (Chance and Electronic Music) through a 10-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 on Chance and Electronic Music, if available in their area; or to watch live concerts recorded on TV or the internet. 2. Let the group leaders choose two or three of their members as videographers for each group. Have them record and make a 10-minute audio video presentation, while the other group members re-enact what they 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 of paper with the names of Cage, Stockhausen, and Varese.

2.

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

3.

Let each contestant draw out a composer’s name from the box and say three sentences about his compositional technique or musical style, his major contribution to modern music, and one work that shows his compositional style.

4.

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

5.

The group with the highest number of points wins the contest. 17

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MUSIC Teacher’s Guide

Evaluation of Performing Activities Have the students rate themselves based on their performance quality. Rating scale: 5 4 3

= Very Good = Good = Fair

2 1

= Poor = Needs Follow-up

1.

How well did I perform chance and electronic music? ____________

2

How well can I identify the different musical genres based on instrumentation, text, and purpose?

___________

How well can I describe the characteristics of each through listening to their melody, harmony, rhythm, text, and mass appeal?

____________

How well did I participate in the performance of the different activities?

____________

3.

4.

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 YouTube websites: BBC’s The Story of Music: Age of Rebellion and The Popular Age by Howard Goodall

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Quarter II: Afro-Latin American and Popular Music

Quarter II AFRO-LATIN AMERICAN AND POPULAR MUSIC CONTENT STANDARDS The learner demonstrates understanding of... 1. Characteristic features of Afro-Latin American music and Popular music. PERFORMANCE STANDARDS The learner... 1. Performs vocal and dance forms of Afro-Latin American music and selections of Popular music.

LEARNING COMPETENCIES The learner... 1. Observes dance styles, instruments, and rhythms of Afro Latin American and popular music through video, movies and live performances. 2. Describes the historical and cultural background of Afro-Latin American 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. From the Department of Education curriculum for MUSIC Grade 10 (2014)

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MUSIC Teacher’s Guide

QUARTER II AFRO-LATIN AMERICAN AND POPULAR MUSIC Sessions 1, 2, 3, 4, and 5 AFRICAN MUSIC AND LATIN AMERICAN MUSIC

I.

SUBJECT MATTER A.

Topic:

African Music and Latin American Music

Sub-topics: African Music 1. Historical and cultural background 2. Musical instruments 3. Rhythms: Maracatu 4. Vocal forms: Blues, soul, spiritual, call and response Latin American Music 1. Historical and cultural background 2. Musical instruments 3. Vocal and dance forms: Cumbia, tango, cha-cha, rumba, bossanova, reggae, foxtrot, paso doble B.

Materials: DVD/CD recordings, video clips, and internet recordings of African and Latin American Music CD/VCD/DVD/Karaoke players, computers, laptops, netbooks, tablets, i pads, mobile phones, MP3/MP4 players Photographs of Africa and Latin American culture and art, and African and Latin American musical instruments

C.

II.

Reference: Music Grade 10 LM pages 38 - 64

LESSON PROPER A.

PRELIMINARY ACTIVITY 1. Review: Concepts of Music of the 20th Century 2. Motivation a. Show video/film clips or any recording from YouTube of excerpts of African and Latin American Music.

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Quarter II: Afro-Latin American and Popular Music

Example: Lion King for African Music; Rio for Latin American Music b. 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 to or watched in their own words. (5 minutes). d. Call some volunteer students to read their descriptions or observations. Connect these to the new lesson.

B.

DEVELOPMENTAL ACTIVITY 1. Ask the students to listen to CD/DVD recordings or watch MTVs from YouTube of African and Latin American music. 2. Have them analyze the characteristics and styles of each through discussion and sharing of insights. 3. Group Discussion: Let the students compare their insights with their classmates in terms of the elements and characteristics of each. 4. Have them share impressions, experiences, thoughts, and feelings after listening to the music and discussing all these.

C.

INTEGRATION Integration of Music with Arts, Literature, and History through the use of music recordings and video clips. Infusion of values: Belief in the power of the mind and its ability to achieve one’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 African ceremonies, including those for birth, death, initiation, marriage, and funerals. Music and dance are also important to religious expression and political events in Africa.

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MUSIC Teacher’s Guide

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 and Portugal.

III.

IV.

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. idiophones b. chordophones c. membranophones d. 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 American music?

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”?

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 features and qualities of each musical genre and style.

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Quarter II: Afro-Latin American and Popular Music

V.

WHAT TO UNDERSTAND Activity 1: Making Improvised African and Latin American Instruments Individual or Group Activity 1.

Ask the students to make improvised African and Latin American musical instruments using dried vegetables, animal hide, wood, strips of roofing metal, tin cans, bamboo, and other materials from the environment.

2.

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

3.

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

Activity 2: Choreography to Express the Music Individual or Group Activity

VI.

1.

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

2.

Let them answer: “How does it feel to conceptualize the dance movements in each music category?”

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 a song from one of the following musical genres: For African Music - Kumbaya, Waka Waka, or Mbube For Latin-American music - One Note Samba; We are One (Ole Ola) the official song of the 2014 FIFA World Cup held in Brazil, written and co-produced by Pitbull and featuring Jennifer Lopez and Brazilian star Claudia Leitte. Let them research the lyrics and music. b. Let the students decide among their group members which of them will sing, plan the choreography or movements to accompany the song, play 23

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MUSIC Teacher’s Guide

a musical instrument, and record the group’s performance on video. c. Ask the students learn their assigned song, using the lyrics on the following 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 class members to join them in the dance movements or choreography that they have prepared. They can do a “flash mob” style of dancing. b. Have the group leaders do an impromptu selection of the “Best Dance Performance” among their classmates.

3.

Music Video Award a. During the class performance, let the assigned group member(s) to record their group’s performance using a mobile phone, tablet, or video camera. b. Have them simulate a “Music Video Award” event by joining the other groups in presenting their respective videos in class. c. Ask the class members choose the “Best Song Performance” based on how well the group presented their assigned music genre.

KUM BAY YA Kum Bay Ya is a spiritual song that was first recorded in the 1920s. It became a popular standard campfire song in Girl or Boy Scouting and during summer camps. The song is originally a simple petition to God to come and help those in need. This inspiring hymn is heard in many countries of Central Africa. It has great personal meaning and the singer often creates his own words as he works or pray. The words “Kum Bay Ya” mean “come by here” or “stay nearby.”

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Quarter II: Afro-Latin American and Popular Music

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 ya Someone’s laughing, my Lord, kum bay ya Someone’s laughing, my Lord, kum bay ya O Lord, kum bay ya. Someone’s crying, my Lord, kum bay ya Someone’s crying, my Lord, kum bay ya Someone’s crying, my Lord, kum bay ya O Lord, kum bay ya. Someone’s praying, Lord, kum bay ya Someone’s praying, Lord, kum bay ya Someone’s praying, Lord, kum bay ya O Lord, kum bay ya. Someone’s singing, my Lord, kum bay ya Someone’s singing, my Lord, kum bay ya Someone’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, "Waka Waka (Esto es África)" is a song by Colombian singer-songwriter Shakira. It feautures South African band, Freshlyground, and pairs an African Colombian rhythm with a Soca-inspired beat. Its lyrics encourage one to aim for one’s goals, like a soldier on a battlefield. The song was used as the official song of the 2010 FIFA World Cup held in South Africa.

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MUSIC Teacher’s Guide

WAKA WAKA You're a good soldier Choosing your battles Pick yourself up And dust yourself off And back in the saddle You're on the frontline Everyone's watching

You know it's serious We're getting closer This isn’t over The pressure is on You feel it But you've got it all Believe it

ONE NOTE SAMBA Samba de Uma Nota Só ("One-Note Samba") is a song composed by Antonio Carlos Jobim, with Portuguese lyrics by Newton Mendonça and English lyrics by Jobim. The song title refers to the main melody line, which at first consists of a long series of notes of a single tone. This is just a little samba Built upon a single note Other notes are bound to follow But the root is still that note Now this new note is the consequence Of the one we've just been through As I'm bound to be The unavoidable consequence of you There's so many people Who can talk and talk, and talk And just say nothing Or nearly nothing I have used up all the scale I know and at the end I've come to nothing I mean nothing

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Quarter II: Afro-Latin American and Popular Music

So I come back to my first note As I come back to you I will pour into that one note All the love I feel for you Any one who wants the whole show Re mi fa so la ci do He will find himself with no show Better play the note you know So I come back to my first note I must come back to you I will pour into that one note All the love I feel for you Any one who wants the whole show Re mi fa so la ci do He will find himself with no show Better play the note you know

Evaluation of Performing Activities Rating scale: 5 = Very Good 4 = Good 3 = Fair

2 = Poor 1 = Needs Follow-up

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 genres based on instrumentation, melody, rhythm, text, timbre, harmony, and purpose?

_______________

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MUSIC Teacher’s Guide

3.

4.

5.

How well can I describe the characteristics of each genre as I listened to the melody, harmony, rhythm, and lyrics?

_______________

How well did our group perform the different dance moves for our assigned song?

_______________

How well can I (individually) sing the following musical genres? a. African music b. Latin American music

_______________ _______________

Teacher’s Rating of the Performance

VII.

1.

Musicianship (60%) (musical elements, technique)

_______________

2.

Presentation impact and showmanship (20%)

_______________

3.

Ensemble coordination and organization (20%)

_______________

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 African and 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 to one group, and Latin American music to the other group. Have them prepare for a mini concert of their assigned genre in the next meeting.

2.

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

3.

Video Analysis: Ask the students to watch the animated movies Lion King by Disney and Rio by Blue Sky Studios on the internet. Have them write a reaction paper regarding the musical forms and styles incorporated in these movies.

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Quarter II: Afro-Latin American and Popular Music

QUARTER II AFRO-LATIN AMERICAN AND POPULAR MUSIC Sessions 6, 7, and 8 JAZZ, POPULAR MUSIC, AND ORIGINAL PILIPINO MUSIC I.

SUBJECT MATTER A.

B.

Topic:

Jazz Popular Music Original Pilipino Music (OPM)

Sub-topics:

Jazz – ragtime, big band, bebop, jazz rock Popular Music – ballad, standard, rock and roll, alternative music, disco Original Pilipino Music (OPM)

Materials:

DVD/CD recordings / video clips / recordings from YouTube of Jazz Music, Popular Music, and OPM CD/VCD/DVD/Karaoke players, computers, laptops, netbooks, tablets, i pads, mobile phones, MP3/MP4 players Pictures of Jazz, Popular Music, and OPM singers, composers, lyricists

C.

II.

Reference:

Music Grade 10 LM pages 65 - 87

LESSON PROPER A.

PRELIMINARY ACTIVITY 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, One Direction, The Vamps, Ed Sheeran, Taylor Swift, K pop, J pop, Freddie Aguilar, Francis Magalona, and Eraserheads.

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MUSIC Teacher’s Guide

Or present in class video clips from the animated movie The Princess and The Frog and let the students listen to the background music which is jazz. b. Elicit responses through individual recitations or plain imitation of a short song melody.

B.

DEVELOPMENTAL ACTIVITY 1. Let the students listen to DVD/CD recordings or watch MTVs from YouTube 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 through comparison of their similarities and differenes. 3. Discuss the different aspects of the history of each musical genre in relation to Social Studies, and describe how each one is influenced by modern 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 and alternative music, as well as the modern idioms of jazz, popular music, and rock, may be integrated with Social Studies in reference to today’s society, culture, and technology. 2. Role Playing - Call on volunteer students to depict the socio-historical context of jazz and popular music, specifically rock and roll. Infusion of values: Ability to adapt to different situations in life and openmindedness to new ideas.

D.

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

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Quarter II: Afro-Latin American and Popular Music

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

III.

WHAT TO KNOW Ask the students to answer the following:

IV.

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 the development of these different musical genres?

4.

Describe the “Manila Sound” in Philippine pop music.

5.

Name some well-known OPM performers.

WHAT TO PROCESS Class Activity: Listening

V.

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 the class to listen carefully to each recording.

2.

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

WHAT TO UNDERSTAND Activity: Choreography to Express the Music Individual or Group Activity 1.

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

2.

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

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MUSIC Teacher’s Guide

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 the following 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 the following: - 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 or researched on the internet. Let them practice it, with the choreography and accompaniment.

2.

Dance Interaction a. As they perform in class, ask the performers to invite the other class members to join them in the dance movements or choreography that they have prepared. They can do a “flash mob” style of dancing. b. Assign the group leaders to do an impromptu selection of the “Best Dance Performance” among their classmates.

3.

Music Video Award a. During the class performance, ask the assigned group member(s) to record their group’s performance using a mobile phone, tablet, or video camera.

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Quarter II: Afro-Latin American and Popular Music

b. Tell them to simulate a “Music Video Award” event by joining the other groups in presenting their respective videos in class. c. Ask the class members to choose the “Best Song Performance” based on how well the group presented their assigned music genre.

Someone To Watch Over Me There's a saying old, says that love is blind Still 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 yet He's the big affair I cannot forget Only man I ever think of with regret I'd like to add his initial to my monogram Tell me, where is the shepherd for this lost lamb? There's a somebody I'm longin' to see I hope that he, turns out to be Someone who'll watch over me I'm a little lamb who's lost in the wood I know I could, always be good To one who'll watch over me Although he may not be the man some Girls think of as handsome To my heart he carries the key Won't you tell him please to put on some speed Follow my lead, oh, how I need Someone to watch over me Won't you tell him please to put on some speed Follow my lead, oh, how I need Someone to watch over me Someone to watch over me

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MUSIC Teacher’s Guide

Evaluation of Performing Activities Rating scale: 5 = Very Good 4 = Good 3 = Fair

2 = Poor 1 = Needs Follow-up

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 genres based on instrumentation, melody, rhythm, text, timbre, harmony, and purpose? _______________

3.

How well can I describe the characteristics of each genre as I listened to the melody, harmony, rhythm, and lyrics?

_______________

How well did our group perform the different dance moves for our assigned song?

_______________

4.

5.

How well can I (individually) sing the following musical 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%) _______________

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Quarter II: Afro-Latin American and Popular Music

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 this genre 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 each group: jazz, popular music, and OPM. 2. Have the students research further on their assigned genre and the wellknown musicians who composed/performed in this style. 3. Ask the students to briefly describe the life and works of their favorite artists in this genre. 4. Let them submit their resarch work in the next meeting. Ask 5 students to read their work in class.

B.

Video Analysis 1. Ask the students to watch the Disney animated movie The Princess and The Frog on the internet. 2. Have them write a reaction paper regarding the musical forms and styles incorporated in the movie.

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MUSIC Teacher’s Guide

Quarter III CONTEMPORARY PHILIPPINE MUSIC

CONTENT STANDARDS The learner demonstrates understanding of... 1.

Characteristic features of contemporary music.

PERFORMANCE STANDARDS The learner... 1.

Sings contemporary songs.

LEARNING COMPETENCIES The learner... 1. 2. 3. 4. 5. 6. 7. 8.

Listens perceptively to excerpts of major contemporary works. Describes characteristics of traditional and new music. Gives a brief biography of selected contemporary Philippine composers. Sings selections of contemporary music with appropriate pitch, rhythm, style, and expression. Explores ways of creating sounds on a variety of sources. Improvises simple vocal/instrumental accompaniments to selected songs. Creates a musical on the life of a selected contemporary Philippine composer. Evaluates music and music performances using knowledge of musical elements and style.

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

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Quarter III: Contemporary Philippine Music

Quarter III CONTEMPORARY PHILIPPINE MUSIC Sessions 1,2, and 3 TRADITIONAL COMPOSERS

I.

SUBJECT MATTER A.

Topic:

20th Century Filipino Composers: Traditional Composers

Sub Topics: Francisco Buencamino Francisco Santiago Nicanor Abelardo Antonio Molina Hilarion Rubio Col. Antonino Buenaventura Rodolfo Cornejo Felipe Padilla de Leon Sr. Lucio San Pedro Rosendo Santos Jr. Alfredo Buenaventura Ryan 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 CD/VCD/DVD/Karaoke players, computers, laptops, netbooks, tablets, i pads, mobile phones, MP3/MP4 players

C.

Reference:

Music Grade 10 Learner’s Materials Pages 89-109

37 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 Teacher’s Guide

II.

LESSON PROPER A.

PRELIMINARY ACTIVITY 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 lessons to serve as a bridge to the new lesson. Display the chart or list of composers from the last lesson.

B.

DEVELOPMENTAL ACTIVITY Have the students do the following: 1. Let the students listen to and watch presentations of the lives, musical achievements, and works of Francisco Buencamino Sr., Francisco Santiago, Nicanor Abelardo, Antonio Molina, Hilarion Rubio, Col. Antonino Buenaventura, Rodolfo Cornejo, Felipe Padilla de Leon Sr., 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 pianist b. Nocturne by Nicanor Abelardo performed by Raul Sunico, international concert pianist c. Serenata by Nicanor Abelardo performed by Renato Lucas, cello and Raul Sunico, pianist d. Anak Dalita by Francisco Santiago e. Sa Ugoy ng Duyan by Lucio San Pedro performed by Lea Salonga f. Kumukutikutitap and Kay Ganda ng ating Musika by Ryan Cayabyab 3. Let them express their a) personal reactions or feelings; and b) analysis of the musical elements present about these composers’ works through group discussion. Report the outcome of the group discussion in class.

C.

INTEGRATION The lesson on 20th Century Filipino Composers may be integrated with Philippine History for a better understanding of the musical styles and their sources of influence.

38 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.

Quarter III: Contemporary Philippine Music

Infusion of values: Appreciation of our nationalist composers as major exponents of our cultural heritage. D.

GENERALIZATION Filipino composers of the 20th century contributed their share in introducing innovative sounds different from the traditional folk song and kundiman melodies that we have been accustomed to. Some espoused the impressionistic style, while others combined ethnic sounds and musical elements with Western techniques in their compositions.

III.

WHAT TO KNOW 1.

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

2.

Point out the characteristics of the musical style of the above-mentioned Filipino composers. Composer

Characteristics of the Musical Style

________________

_______________________________________

________________

_______________________________________

________________

_______________________________________

________________

_______________________________________

________________

_______________________________________

________________

_______________________________________

________________

_______________________________________

________________

_______________________________________

________________

_______________________________________

________________

_______________________________________

39 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 Teacher’s Guide

IV.

WHAT TO PROCESS A.

Listening Activity 1. Play excerpts of recordings of any one composition by the following Filipino song composers: Antonio Molina

Lucio San Pedro Ryan Cayabyab

Col. Antonino Buenaventura

Alfredo Buenaventura

Rodolfo Cornejo

Hilarion Rubio

- Hatinggabi, Misa Antoniana, Grand Festival Mass, Ang Batingaw, Kundiman- Kundangan; String Quartet, Kung sa Iyong Gunita, Pandangguhan, Amihan, Awit ni Maria Clara, Larawan Nitong Pilipina - Sa Ugoy ng Duyan, Suite Pastorale, Lahing Kayumanggi - Misa, Four Poems for Soprano and Piano, Te Deum, Kay Ganda ng Ating Musika, Limang Dipang Tao, Da Coconut Nut, Alikabok, Spoliarium, Kumukuti-kutitap - Minuet, Mindanao Sketches, Divertimento for Piano and Orchestra, Variations and Fugue, and Greetings, Pandanggo sa Ilaw, Princesa ng Kumintang, Pandanggo ni Neneng - Maria Makiling (1961), Diego Silang(1966), Prinsesa Urduha (1969); Ang Ating Watawat (1965), Pasko ng Barangay (1964); Dakilang Lahi (1971), Gomburza (1981), and Rizal, the Great Malayan Antagonist (1990) - A la Juventud Filipina, Bailes de Ayer, Caprice on a Folksong, Cello Sonata, Ibong Adarna, Kandingan, Malakas at Maganda Overture, Okaka, Oriental Fantasy, Ibong Adarna, Piano Concerto Nos. 1,2,3, Ruby, Song of the Miners - Bulaklaken, Dance of the Nymphs Rondo, Florente at Laura, Halik, Danza, Ang Konsyerto (ballet), Ang Magsasaka, Bukang Liwayway, Concertino in C (Marimba and piano), Filipinas Kong Mahal, Hatulan Mo Ako, Ginintuang Araw, In a Tropcal Sea, Filipino Youth, Nela, Light, Narra, Mutya ng Silangan

40 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.

Quarter III: Contemporary Philippine Music

Rosendo Santos Jr. - Melinda’s Masquerade Nicanor 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, Noche Buena, Kay Tamis ng Buhay, Sapagkat Mahal Kita Francisco 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 the different musical styles of the composers. 3. Have them analyze the music by taking note of the elements of music present: rhythm, melody, tempo, dynamics, texture, harmony, form, and timbre. 4. Let them choose a composition that they like, and then write a short reaction paper on it in relation to the musical elements.

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 compositions by Lucio San Pedro, Col. Antonino Buenaventura, Alfredo Buenaventura, Antonio Molina, Rodolfo Cornejo, Francisco Buencamino, Hilarion Rubio, Rosendo Santos Jr., Francisco Santiago, Nicanor Abelardo, Felipe Padilla de Leon Sr., and Ryan Cayabyab. 2. Divide the class into four teams, with each team forming a line.

41 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 Teacher’s Guide

3. As you play a few measures of the first musical excerpt, the first student in each line goes to the board and writes the name of the composer. The second student will write the title of the music. The third student will write the musical style. Then, the fourth student will write a description of 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 had their turn. 6. Assign one student as the scorer. The team with the highest score 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 this activity?

V.

WHAT TO UNDERSTAND Activity for Solo, Duet, Trio, Quartet, Quintet 1. 2. 3.

4. 5.

VI.

Have the students compose a simple song, for which they will create both the lyrics and the music. They may adapt a certain melody from the compositions of the song composers that they like, and then write new lyrics to fit the music. They may also include an accompaniment using a guitar, flute, recorder, keyboard, drums, tambourine, maracas, or even improvised musical instruments from the environment. Have the students sing their original songs or adaptations in class, either a capella (without accompaniment) or with accompaniment. Ask them this question: What motivated you to compose or adapt the music of that particular song?

WHAT TO PERFORM A.

Singing Activity Individual or in groups: Let the students sing any of the compositions of Lucio San Pedro, Col. Antonino Buenaventura, Alfredo Buenaventura, Antonio Molina, Rodolfo Cornejo, Francisco Buencamino Sr., Hilarion Rubio, Rosendo Santos Jr., Nicanor Abelardo, Francisco Santiago, Felipe Padilla de Leon, and Ryan Cayabyab.

42 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.

Quarter III: Contemporary Philippine Music

If individual activity, let the students choose one composition that they will perform. 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 further on his compositions, if needed. 3. After researching, have them select one composition that they like best or 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 from the environment. 8. Let them sing the song in class with their groupmates interpreting the music 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 and their own performance.

Evaluation of Singing Activity Have the students rate the individuals/groups based on performance quality: Rating Scale:

5 - Very Good 4 - Good 3 - Fair

2 - Poor 1 - Needs Follow up

43 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 Teacher’s Guide

Rating the other performers (if individual activity): 1. How well did the performers express the message of the songs? __________ 2. How well did the performers pronounce the lyrics of the songs? __________ 3. How well did the performers sing based on musical 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 the message 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 traditional composer who was discussed in class, and research further on his life and works. 2. Have the students create a contemporary musical on the life of their chosen composer. Encourage them to incorporate some of his compositions (melodic fragments) in the musical’s story line. 3. For the creation of the musical, have the students improvise simple vocal 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 a variety of sources or from the environment. 5. Each group will then perform their original musical in class.

44 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.

Quarter III: Contemporary Philippine Music

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

5 - Very Good 4 - Good 3 - Fair

2 - Poor 1 - Needs Follow up

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?

__________

__________ __________ __________ __________ __________ __________ __________ __________

__________ __________ __________ __________

__________ __________ __________ __________ 45

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 Teacher’s Guide

Quarter III CONTEMPORARY PHILIPPINE MUSIC Sessions 4 and 5 NEW MUSIC COMPOSERS I.

SUBJECT MATTER A.

Topic:

20th Century Filipino Composers: New Music Composers

Sub Topics: Jose Maceda Lucrecia Kasilag Ramon Santos Fr. Manuel Maramba, OSB Jerry Dadap Francisco Feliciano Josefino “Chino” Toledo Jonas Baes 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 CD/VCD/DVD/Karaoke players, computers, laptops, netbooks, tablets, i pads, mobile phones, MP3/MP4 players

C.

II.

Reference:

Music Grade 10 Learner’s Materials Pages 119-124

LESSON PROPER A.

PRELIMINARY ACTIVITY 1. Review: Recall concepts from the past lesson.

46 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.

Quarter III: Contemporary Philippine Music

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

B.

DEVELOPMENTAL ACTIVITY 1. Have the students watch and listen to presentations of the lives, musical achievements, and works of Jose Maceda, Lucrecia Kasilag, Ramon Santos, 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, Japan b. Huntahang Gitara composed and conducted by Josefino Toledo c. Banwa by Jonas Baes d. Lullaby by Lucrecia Kasilag, National Artist for Music e. Pamugun by Francisco Feliciano, National Artist for Music f. Alay sa Inang Bayan by Jerry Dadap 3. Ask the students to express their personal reactions or feelings about these composers’ works through group discussion and analysis. Have them report the outcome of the group discussion in class.

C.

INTEGRATION The lesson on 20th Century Filipino Composers may be integrated with Philippine History for a better understanding of the styles and their sources of influence. Infusion of values: Appreciation of our nationalist composers as major exponents of our cultural heritage.

D.

GENERALIZATION Filipino composers of the 20th century contributed their share in introducing innovative sounds different from the traditional folk song and kundiman melodies that we have been accustomed to. Some espoused the impressionistic style, while others combined ethnic sounds and musical elements with Western techniques in their compositions.

47 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 Teacher’s Guide

III.

WHAT TO KNOW Let the students answer the following: 1.

Research on and describe the characteristics of New Music.

2.

Discuss the lives and works of the following 20th century Filipino composers and performers: a. b. c. d.

3.

IV.

Jose Maceda Lucrecia Kasilag Ramon Santos Fr. Manuel Maramba, OSB

e. f. g. h.

Jerry Dadap Francisco Feliciano Josefino “Chino” Toledo Jonas Baes

Point out the characteristics of the musical styles of the above-mentioned Filipino composers. Composer

Characteristics of the Musical Style

________________

________________________________________

________________

________________________________________

________________

________________________________________

________________

________________________________________

________________

________________________________________

________________

________________________________________

________________

________________________________________

________________

________________________________________

WHAT TO PROCESS A.

Listening Activity 1. Play excerpts of recordings of any one composition by the following Filipino New Music composers:

48 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.

Quarter III: Contemporary Philippine Music

a. Jose Maceda - Ugma-Ugma; Agungan; Pagsamba; Ugnayan; Udlot Udlot b. Lucrecia Kasilag - Toccata for Percucssion and Winds; The Legend of 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; Pilipino Komiks; 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 life of wartime Filipino hero, Jose Abad Santos; Transfiguration; Missa Mysterium; Pokpok Alimpako; Salimbayan; Umiinog, Walang Tinag; Pamugún; Restless e. Jerry Dadap - The Passionate and the Wild; Mangamuyo I); Mangamuyo II; The Redemption; Five Little Fingers; Tubig ng Buhay; Dakilang Pagpapatawad; Andres Bonifacio, Ang Dakilang Anak Pawis; Ang Pag-ibig ng Diyos; Balitaw Nos. 1-7; Lam-ang Epic; Lorenzo Ruiz; Chorale Symphonic Ode Nos. 1 and 2; Aniway at Tomaneg; Song Cycle, Nos. 1-4; Choral Cycle Nos. 1-3; Diyos Ama ay Purihin f. Fr. Manuel Maramba, OSB - Aba!, Sto. Niño; La Naval; Lord Takayama Ukon; Awakening; Seven Mansions; Papal Mass for World Youth Day, 1995; Mass in Honor of St. Lorenzo Ruiz; Mass in Honor of the Sto. Niño; cantatas St. Lorenzo Ruiz, St. Benedict, and St. Scholastica; Three Psalms—A hymn in honor of St. Lorenzo Ruiz, and the official hymn of the 1996 National Eucharistic Congress; Ang Sarswela sa San Salvador; Pugad Lawin; The Virgin of Naval; Transfiguration g. Ramon Santos - Ding Ding nga Diyawa; Nabasag na Banga at Iba’t iba pang Pinag-ugpong-ugpong na Pananalita sa Wikang Pilipino (para sa labing anim na tinig); L’BAD h. Jonas Baes - WALA (Nothingness); DALUY (flow); IBOIBON (Birdwoman); SALAYSAY; PATANGIS-BUWAYA; PANTAWAG; BASBASAN (Blessing)

49 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 Teacher’s Guide

2. Let students listen carefully to each excerpt and be able to recognize the 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 paper on 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 the compositions that the students had listened to. 2. Divide the class into four teams, with each team forming a line. 3. As you play a few measures of the first excerpt, the first student in each line goes to the board and writes the name of the composer. The second student will write the title of the music. The third student will write the musical style. Then, the fourth student will write a description of 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 had their turn. 6. One student will be assigned as the scorer. The team with the highest score 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 this activity?

V.

WHAT TO UNDERSTAND Activity for Solo, Duet, Trio, Quartet, Quintet 1.

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

50 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.

Quarter III: Contemporary Philippine Music

VI.

2.

Each group will compose a simple song incorporating indigenous music and folksongs; or they may adapt a certain melody from the compositions of the New Music composers that they like.

3.

Have them write new lyrics to fit the music, and include an accompaniment using guitar, flute, recorder, keyboard, percussion, or improvised musical instruments.

4.

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

5.

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

6.

Have the students answer the following: “How did you feel in incorporating our indigenous music in your composition or song adaptation?” Have them submit this paper in class next meeting.

WHAT TO PERFORM Creating and Performing Activities: Musical 1.

Divide the class into four groups. Each group will choose a traditional composer who was discussed in class, and research further on his life and works.

2.

Based on their research, have them create a contemporary musical on the life 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 sounds as accompaniment on a variety of sources or from the environment.

5.

All the groups will then perform their musical in class.

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% 51

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 Teacher’s Guide

Evaluation of Creating and Performing Activities: Musical Have the students rate the individuals/groups based on performance quality: Rating Scale:

5 - Very Good 4 - Good 3 - Fair

2 - Poor 1 - Needs Follow up

Rating the other performers/groups: 1. How well did the performers express the message of the musical? 2. How well did the performers sing and act in the 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 the message 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?

__________ __________ __________ __________

52 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.

Quarter III: Contemporary Philippine Music

Quarter III CONTEMPORARY PHILIPPINE MUSIC Sessions 6, 7, and 8 SONG COMPOSERS I.

SUBJECT MATTER A.

Topic:

20th Century Filipino Composers: Song Composers

Sub Topics: Levi Celerio Constancio de Guzman Mike Velarde Jr. Ernani Cuenco Restie Umali George Canseco Angel Peña Leopoldo Silos Santiago Suarez 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 CD/VCD/DVD/Karaoke players, computers, laptops, netbooks, tablets, i pads, mobile phones, MP3/MP4 players

C.

II.

Reference:

Music Grade 10 Learner’s Materials Pages 125-140

LESSON PROPER A.

PRELIMINARY ACTIVITY

53 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 Teacher’s Guide

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 lessons to serve as a bridge to the new lesson. Display the chart of composers in the last lesson.

B.

DEVELOPMENTAL ACTIVITY Have the students do the following: 1. Let the students watch and listen to presentations of the lives, musical achievements, and works of Levi Celerio, Constancio de Guzman, Mike Velarde Jr., Ernani Cuenco, Restie Umali, George Canseco, Angel Peña, Leopoldo Silos, Santiago Suarez 2. Have them watch the following video clips on YouTube a. Bayan Ko by Constancio de Guzman as performed by Lea Salonga b. Bato sa Buhangin by Ernani Cuenco, National Artist for Music as performed by Raul Sunico, international concert pianist c. Hanggang sa Dulo ng Walang Hanggan by George Canseco as performed by Raul Sunico, international concert pianist d. 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 with Ryan Cayabyab f. Dahil sa Iyo by Mike Velarde Jr g. Saan Ka Man Naroroon by Restie Umali h. 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 these composers’ works through group discussion and analysis. Then, have them report the outcome of the group discussion in class.

C.

INTEGRATION The lesson on 20th Century Filipino Composers may be integrated with Philippine History for a better understanding of the styles and their sources of influence.

54 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.

Quarter III: Contemporary Philippine Music

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

D.

GENERALIZATION Filipino composers of the 20th century contributed their share in introducing innovative sounds different from the traditional folk song and kundiman melodies that we have been accustomed to. Some espoused the impressionistic style, while others combined ethnic sounds and musical elements with Western techniques in their compositions. Some adopted the kundiman as their form in composing their music.

III.

WHAT TO KNOW 1.

Discuss the lives and musical contributions of the following 20th century Filipino song composers a. b. c. d. e.

2.

Levi Celerio Constancio de Guzman Mike Velarde Jr. Ernani Cuenco Restie Umali

f. g. h. i.

George Canseco Angel Peña Leopoldo Silos Sr. Santiago Suarez

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

Title of Any Composition

________________

________________________________________

________________

________________________________________

________________

________________________________________

________________

________________________________________

________________

________________________________________

________________

________________________________________

________________

________________________________________

________________

________________________________________

________________

________________________________________

55 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 Teacher’s Guide

IV.

WHAT TO PROCESS A.

Listening Activity 1. Play excerpts of recordings of any of the following works by Filipino song composers: a. Levi Celerio

- Ang Pipit, Sa Ugoy ng Duyan, Misa de Gallo, Itik-itik (folk song), Tinikling (folk song), Ang Pasko ay Sumapit

b. Constancio de Guzman

c.

d.

e.

f.

g.

h.

- Bayan Ko, Babalik Ka Rin, Ang Tangi Kong Pag-ibig, Birheng Walang Dambana, Maalaala Mo Kaya, Sa Piling Mo, Ang Langit Ko’y Ikaw Mike Velarde Jr. - Buhat, Ikaw, Bituing Marikit, Minamahal Kita, Dating Sumpaan, Dalisay, Eternally Yours, Gabi at Araw, Dahil sa Iyo Ernani Cuenco - Nahan; Kahit na Magtiis; Diligin Mo ng Hamog ang Uhaw na Lupa; Pilipinas, Inang Bayan; Isang Dalangin; Kalesa; Gaano Ko Ikaw Kamahal; Bato sa Buhangin 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 George Canseco - Ikaw, Kailangan Kita, Dito Ba, Hiram, Langis at Tubig, Hanggang sa Dulo ng Walang Hanggan, Sinasamba Kita, Kastilyong Buhangin, Minsan pa nating hagkan ang Nakaraan, Ngayon at Kailanman, Saan Darating ang Umaga, Sana Bukas Pa ang Kahapon, Dear Heart, Gaano Kadalas ang Minsan Angel Peña - Bagbagtulambing, Igorot Rhapsody, Concerto for Double Bass and Orchestra, Concerto for Jazz Quartet and Orchestra Leopoldo Silos Sr. Dahil sa Isang Bulaklak, Hindi Kita Malimot, Aling Kutsero, Ay Anong Saklap, Basta’t Mahal Kita, Diyos Lamang ang Nakakaalam, Hindi ko Malilimutan, Lagi Kitang Naaalala, Langit at Lupa, Halina Halina, Lihim na Pagibig, Mundo Ma’y Mawala

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Quarter III: Contemporary Philippine Music

i. Santiago Suarez

- Ligaya Ko, Pandanggo ni Neneng, Dungawin Mo Hirang, Bakya Mo Neneng, Caprichosa, Sa Libis ng Nayon, Harana, Kataka-taka, Labandera Ko, Lakambini, Kamia, Ikaw ang Buhay Ko!, Kay Lungkot Nitong Hating-Gabi, Mutya Niyaring Puso

2. Have the students listen carefully to any musical excerpt and be able to recognize the different musical styles of the composers. 3. Instruct them to analyze the music that they heard by noting the elements of music present: rhythm, melody, tempo and dynamics, texture and harmony, form, and timbre. 4. Let them choose a composition that they like and write a brief reaction paper. 5. Have them answer “Why did you choose that composition?”

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 compositions by the following: Celerio, De Guzman, Velarde, Cuenco, Umali, Canseco, Peña, Silos, and Suarez. 2. Divide the class into four teams, with each team forming a line. 3. As you play a few measures of the first excerpt, the first student in each line goes to the board and writes the name of the composer. The second student will write the title of the music. The third student will write the musical style. Then, the fourth student will write a description of 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 had their turn. 6. One student will be assigned as the scorer. The team with the highest score 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: 57

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MUSIC Teacher’s Guide

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

V.

VI.

WHAT TO UNDERSTAND Activity for Solo, Duet, Trio, Quartet, Quintet 1.

Let the students compose a simple song, for which they will write the lyrics and the music.

2.

They may also choose to adapt a certain melody from the compositions of the 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 the environment.

4.

Encourage them to add some dance movements or choreography to interpret the music.

5.

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

6.

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

7.

After the class performances, ask the students: “What motivated you to compose an original song or to adapt the music of an existing song?” “How did you feel about this activity?”

WHAT TO PERFORM A.

Singing Activity: Song Medley Individual or in groups: Sing any of the compositions of Celerio, De Guzman, 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 that they like best or that they are familiar with. Or they may opt to learn a new song. Have them research further on the compositions, if needed.

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Quarter III: Contemporary Philippine Music

2. Each group will choose their musical director and they will create a three- to five-minute medley of their chosen songs. 3. To learn and practice the songs, they may bring “minus one” music on a CD, 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 vocal accompaniment. 5. Have them explore ways of creating sounds as instrumental accompaniment to the song from varied sources or from the environment. 6. All the groups will then perform their song medleys in class, interpreting the 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 song composer discussed in class, and research further on his life and works. 2. Each group will then create a contemporary musical on the life of their chosen composer, incorporating some of his compositions (melodic fragments) in the musical’s story. 3. Let them improvise simple vocal or instrumental accompaniments (example: guitar, keyboard, percussion). Have them also explore ways of creating sounds as accompaniment from varied sources or from the environment. 4. All the groups will then perform their musicals in class. 5. 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% 59

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MUSIC Teacher’s Guide

Evaluation of Creating and Performing Activities: Musical Have the students rate the individuals/groups based on performance quality: Rating Scale:

5 - Very Good 4 - Good 3 - Fair

2 - Poor 1 - Needs Follow up

Rating the other performers/groups: 1.

2.

How well did the performers express the message of the musical?

__________

How well did the performers sing and act 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 j. acting

__________ __________ __________ __________ __________ __________ __________ __________ __________

Rating your own group members: 1. 2. 3. 4.

How well did your group members express the message of the musical? How well did your group members perform? How well did your group members coordinate with each other during the performance in the ensemble? How well did your group organize yourselves in the ensemble?

__________ __________ __________ __________

Rating myself: 1. 2. 3. 4.

How well did I express the message of the musical? How well did I perform with my group? How well did I coordinate with the other members during the performance in the ensemble? How well did I cooperate in the ensemble?

__________ __________ __________ __________

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Quarter IV: 20th and 21st Century Multimedia Forms

Quarter IV 20TH 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.

PERFORMANCE STANDARDS The learner… 1. Performs selections from musical plays, ballet, opera in a satisfactory level of performance. 2. Creates a musical work using media and technology.

LEARNING COMPETENCIES 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.

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

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MUSIC Teacher’s Guide

Quarter IV 20TH AND 21ST CENTURY MULTI-MEDIA FORMS Sessions 1, 2, and 3 OPERA IN THE PHILIPPINES

I.

SUBJECT MATTER A.

Topic:

20th and 21st Century Multi-Media Forms

Sub Topics: Philippine Opera a) La Loba Negra b) Noli Me Tangere c) 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 DVD/CD recordings of sample works CD/VCD/DVD/Karaoke players, computers, laptops, netbooks, tablets, i pads, mobile phones, MP3/MP4 players

C.

II.

Reference:

Music Grade 10 Learner’s Materials Pages 142-155

LESSON PROPER A.

PRELIMINARY ACTIVITY 1. Review: Recall concepts from the past lesson. 2. Motivation: As the class listens to the recordings of contemporary Philippine composers, display on the board pictures of each of the composers. Choose recordings from past lessons to serve as a bridge to the new lesson. Display the chart of composers taken up in the last lesson.

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Quarter IV: 20th and 21st Century Multimedia Forms

B.

DEVELOPMENTAL ACTIVITY Have the students do the following: 1. Let the students watch and listen to presentations or performances of Philippine opera on a DVD. 2. Have them watch the following performances on YouTube: a. Noli Me Tangere, The Opera b. El Filibusterismo, The Opera c. An excerpt from the opera La Loba Negra performed by Alegria Ferrer d. 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 by The Three Tenors - Luciano Pavarotti, Placido Domingo, and Jose Carreras f. Wedding March from the opera A Midsummer Night’s Dream by Mendelssohn g. Triumphal March from the opera Aida by Verdi 3. After watching and listening to the opera, let the students express their personal reactions or feelings about these works through group discussion and analysis. Report the outcome of the group discussion in class.

C.

INTEGRATION The lesson on 20th and 21st Century Multi -Media Forms may be integrated with Philippine History for a better understanding of the styles and their sources of influence. Infusion of values: Appreciation of our nationalist composers, lyricists, story tellers, and performers as major exponents of our cultural heritage.

D.

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

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MUSIC Teacher’s Guide

includes dance. The performance is typically given in an opera house, cultural center, theater, or auditorium. The performance is usually accompanied by an orchestra or a smaller musical ensemble. The dialogue is mostly sang and not spoken. Opera is part of the Western classical music form and tradition. It started in Italy at the end of the 16th century and soon spread through the rest of Europe.mpositions. III.

WHAT TO KNOW Let the students answer the following:

IV.

1.

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

2.

Discuss the characteristics of Philippine opera in relation to other multimedia forms. Explain your answers.

3.

What role did media and social media play in the development of these musical genres specifically the radio, television, video, and recordings?

4

Explain how theatrical elements in a selected part of an opera or musical play 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 live performance.

6.

Describe how an idea or story in an opera or musical play is presented in a music video.

WHAT TO PROCESS Listening and Singing Activities You may let the class do these listening and singing activities separately or combined together, depending on the allotment of time. A.

Listening Activity: Philippine Opera 1. Divide the class into groups. Each group will be assigned to research on the lyrics of Philippine opera . 2. Play musical excerpts from the arias of Noli Me Tangere, La Loba Negra, and El Filibusterismo.

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Quarter IV: 20th and 21st Century Multimedia Forms

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 music present, such as rhythm, melody, tempo and dynamics, texture and harmony, form, and timbre. 5. Let them choose a composition that they like and describe the lyrical content and message that the piece wants to convey. 6. Let them write a reaction paper on their impression of the opera and its message.

Evaluation of Listening Activity: Philippine Opera Let the students answer the following rating questions: Rating scale: 5 = Very Good 4 = Good 3 = Fair

2 = Poor 1 = Needs Follow-up

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 Philippine opera?

___________

2. How well did I listen to the vocal interpretations of songs from Philippine opera?

___________

3. How well can I identify songs from Philippine opera?___________ 4. How well can I describe the qualities of Philippine opera through listening?

B.

___________

Singing Activity: Philippine Opera 1. Divide the class into groups. Each group will be assigned to learn and sing in class an aria from any of the Philippine opera discussed in class. Suggested arias:

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MUSIC Teacher’s Guide

La Loba Negra

-

Napakahaba na ng Gabi

Noli Me Tangere -

Kay Tamis ng Buhay Huwag Mo Akong Pabayaan Awit ng Gabi ni Sisa

El Filibusterismo -

(search on the internet)

2. Let them practice singing the assigned aria with their group mates, using the lyrics that they had researched. 3. Have each group sing their aria expressively in class, together with a recording on CD or from the internet (YouTube). Time allotment for each group is five (5) to ten (10) minutes only. 4. The group members may add choreography or some simple movements or actions to interpret the aria. They may also use musical instruments as accompaniment, and wear improvised costumes, if applicable. 5. Evaluate the performances based on: - musicianship (musical elements) - audience impact - stage presence - stage discipline and deportment

50% 20% 20% 10%

6. Announce the “Best Performance Award.”

Enrichment Activities Watch Live / TV Performances 1. Have the students watch live performances of Philippine opera that had been discussed in class (if available in their area), or let them watch live performances 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 Clips 1. Divide the class into four groups. 2. Together with their group mates, have the students explore how multimedia arts can be used to portray 20th century musical styles (specifically Philippine opera) through a five-minute video clip using their digital cameras or mobile phones. 66

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Quarter IV: 20th and 21st Century Multimedia Forms

3. 4.

V.

VI.

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

WHAT TO UNDERSTAND Group Activity 1.

Divide the class into groups. Instruct each group to brainstorm among themselves on Philippine opera.

2.

Let them create a scene inspired by one of the Philippine operas they have studied, using media and technology. They may incorporate elements from local folktales, legends, history, biographies of heroes, and customs and traditions.

3.

For the music, they may compose their own aria or they may use or adapt the melody of existing songs such as folksongs, indigenous music of their area, or a Western aria. Then, let them write their own libretto suited to the melody 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 insights did I gain from this activity?

WHAT TO PERFORM Creating 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 perform from any one of the following: a) a Philippine opera (La Loba Negra, Noli Me Tangere, El Filibusterismo) b) the scene that they have previously created c) 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 selected opera excerpt. Encourage them to be creative and improvise as needed.

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MUSIC Teacher’s Guide

3. All the groups will present the opera excerpt or scene they have prepared, either using musical instruments as accompaniment or a capella (without accompaniment). 4. Evaluate the performances based on: - musicianship (musical elements) - audience impact - stage presence - stage discipline and deportment

50% 20% 20% 10%

5. Announce the “Best Group Performance Award.” 6. After the performances, ask the students to discuss the differences they have observed and experienced between Philippine opera and western opera.

B.

Recording or Music Video 1. Divide the class into groups and let the students choose a group leader who will assign 1 or 2 members to record the performance of their group using a cassette recorder or they make a music video using their mobile phone, digital camera, or video camera. 2. Let them play the recorded performance or show the music video to their 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, sound quality, expression, mastery of the piece, and stage deportment.

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1.

Have a performance evaluation of how well each group sang any of the aria from 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, or paper sheets marked: GOOD, BETTER, BEST

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Quarter IV: 20th and 21st Century Multimedia Forms

3.

The judging groups will raise their evaluation score cards after the performance of each group. One student will be assigned to tabulate and tally the results.

4.

After the performance of all groups, the teacher will announce the winning group 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 4 - Good 3 - Fair

2 - Poor 1 - Needs Follow Up

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 their melody, harmony, rhythm, text, and mass appeal?_______________

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MUSIC Teacher’s Guide

VII.

70

ENRICHMENT / ASSIGNMENT 1.

Have the students listen to selected aria from a Philippine opera: La Loba Negra, Noli Me Tangere, and El Filibusterismo which were discussed in class.

2.

Let them also listen to arias of other Philippine operas: Spoliarium and Why 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 IV: 20th and 21st Century Multimedia Forms

Quarter IV 20TH AND 21ST CENTURY MULTIMEDIA FORMS Sessions 4 and 5 BALLET IN THE PHILIPPINES I.

SUBJECT MATTER A.

Topic:

20th and 21st Century Multi-Media Forms

Sub Topics: Ballet in the Philippines a) Lola Basyang b) Rama Hari B.

Materials:

Pictures/slides of performances of opera, ballet, musical plays, and Broadway musicals Charts with bullet-highlights of the works Musical scores DVD/CD recordings of sample works CD/VCD/DVD/Karaoke players, computers, laptops, netbooks, tablets, i pads, mobile phones, MP3/MP4 players

C.

II.

Reference:

Music Grade 10 Learner’s Materials Pages 156-162

LESSON PROPER A.

PRELIMINARY ACTIVITY 1. Review: Recall concepts from the past lessons. 2. Motivation: As the class watches the performances of Philippine ballet (Lola Basyang and Rama Hari) and Western ballet (Swan Lake, Nutcracker Suite, and Giselle), display on the board pictures of each of the ballet performances both Philippine and Western ballet.

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MUSIC Teacher’s Guide

B.

DEVELOPMENTAL ACTIVITY Have the students do the following: 1. Let the students watch performances of Philippine ballet or Western ballet on a DVD. 2. Or they may watch the following ballet performances and recorded interviews/documentaries on YouTube: a. Sana’y Wala nang Wakas performed by Lisa Macuja, prima ballerina and Coke Bolipata, violinist b. Swan Lake performed by Lisa Macuja c. Lisa Macuja-Elizalde, Prima Ballerina (documentary) d. Moriones performed by Ballet Philippines e. Karen Davila interviews Lisa Macuja f. Swan Lake performed by Margot Fonteyn and Rudolf Nureyev 3. After watching and discussing the presentations, let the students add these titles of Philippine ballet or Western ballet to the chart listing the title of works, composers, visual aids, country, and style. 4. Have them express their personal reactions or feelings about these works through group discussion and analysis. Then, report the outcome of the group discussion in class.

C.

INTEGRATION The lesson on 20th and 21st Century Multi Media Forms may be integrated with Philippine History , Literature, Art, and Music for a better understanding of 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 through ballet.

D.

GENERALIZATION Filipino ballets vividly present folktales based on local fables. Examples are Lola Basyang as well as epics from neighboring regions, like India’s Ramayana. Highly communicative movements and steps dramatize the actions in the respective stories. The colorful sets and costumes add to the glitter and attraction of the productions.

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Quarter IV: 20th and 21st Century Multimedia Forms

Although not as extensively explored as the other performing genres for local adaptation, Filipino ballet productions have evoked wide enthusiasm from people of all ages. They have been added to the repertory of Philippine dance companies to supplement the Western classical ballets, such as Nutcracker Suite, Swan Lake, Giselle, and Sleeping Beauty.

III.

WHAT TO KNOW Let the students answer the following:

IV.

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 the development of Philippine ballet?

4.

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

5.

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

6.

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

7.

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

8.

Discuss some characterristics of ballet that made it popular.

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 the music Let them take note of the elements of music present, such as rhythm, melody, tempo and dynamics, texture and harmony, form, and timbre.

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MUSIC Teacher’s Guide

3.

Let them express a visual figure or visual interpretation for a particular piece that they like.

Evaluation of Listening Activity: Music for Ballet Let the students answer the following: Rating scale:

5 = Very Good 4 = Good 3 = Fair

2 = Poor 1 = Needs Follow-up

Rate scores are based on melodic appeal and suitability for the ballet’s theme and story line. 1. How well did I listen to the musical interpretations of Philippine or Western ballet? _____________ 2. How well can I identify music from Philippine or Western ballet? _____________ 3. How well can I describe the qualities of ballet music through listening? _____________

V.

WHAT TO UNDERSTAND Group Activity: Compose Simple Ballet Accompaniment

74

1.

Divide the class into groups.

2.

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

3.

They may compose their own original song or they may use or adapt the melody 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 song adaptation

5.

Encourage them to include an accompaniment (Ex: guitar, flute, violin, keyboard, percussion instruments) or improvised musical instruments like tambourines, 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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Quarter IV: 20th and 21st Century Multimedia Forms

VI.

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 insights did I gain from this activity?”

WHAT TO PERFORM Creating and Performing Activities A.

Live Performance of Ballet 1. Divide the class into groups. Have each group choose to perform simple steps and choreography from any Philippine ballet, from the ballet that they 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 a selected part of the ballet. 3. Let them perform the short ballet in class, using musical instruments as accompaniment 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% 5. Announce the “Best Group Performance Award.”

B.

Recording or Music Video 1. Divide the class into groups and let the students choose a group leader who will assign 1 or 2 members to record the performance of their group using a cassette recorder. Or they make a music video using their mobile phone, digital camera, or video camera. 2. Have all the groups play the recorded performance or show the music video to their classmates. 3. Choose the “Best Video.”

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MUSIC Teacher’s Guide

Enrichment Activity: Film Viewing 1.

Let the students watch video clips of the following ballets on the internet or You Tube. a. Swan Lake b. The Nutcracker Suite c. Giselle

2.

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

Evaluation of Performing Activities Let the students answer the following. Rating Scale:

5 - Very Good 4 - Good 3 - Fair

2 - Poor 1 - Needs Follow-up

Rate scores are based on the performance quality. 1. How well did I perform creative simple ballet steps with my group? __________ 2 How well can I identify the different musical genres based on instrumentation, text, and purpose? __________ 3. How well can I describe the characteristics of each through 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 are Lola Basyang as well as epics from neighboring Asian regions, such as India’s Ramayana. Highly communicative movements and steps dramatize the actions in the respective stories. The colorful sets and costumes add to the luster and attraction of the productions. Although not as extensively explored as the other performing genres for local adaptation, 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 Western classical ballets.

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Quarter IV: 20th and 21st Century Multimedia Forms

VIII. EVALUATION 1.

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

2.

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

3.

Let them research further on a Philippine or western ballet that they find interesting.

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MUSIC Teacher’s Guide

Quarter IV 20TH AND 21ST CENTURY MULTIMEDIA FORMS Sessions 6,7, and 8 PHILIPPINE MUSICAL PLAYS

I.

SUBJECT MATTER A.

Topic:

20th and 21st Century Multi-Media Forms

Sub Topics: Philippine Musical Plays a) Andres Bonifacio: Ang Dakilang Anak Pawis b) Atang c) Katy d) Florante at Laura e) Daragang Magayon f) Noli Me Tangere g) El Filibusterismo h) Magsimula Ka B.

Materials:

Pictures/slides of performances of opera, ballet, musical plays, and Broadway musicals Charts with bullet-highlights of the works Musical scores DVD/CD recordings of sample works CD/VCD/DVD/Karaoke players, computers, laptops, netbooks, tablets, i pads, mobile phones, MP3/MP4 players

C.

II.

Reference:

Music Grade 10 Learner’s Materials Pages 167-186

LESSON PROPER A.

PRELIMINARY ACTIVITY 1. Review: Recall concepts from the past lesson.

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Quarter IV: 20th and 21st Century Multimedia Forms

2. Motivation: As the class listens to the recordings of Philippine musicals and Broadway musicals, display on the board pictures of each of the performances. Choose recordings from past lessons to serve as a bridge to the new lesson. Display the chart of ballet performances taken up in the last lesson.

B.

DEVELOPMENTAL ACTIVITY Have the students do the following: 1. Let the students watch and listen to the presentations or performances of Philippine musicals on a DVD. 2. Have them watch the following examples of Philippine musical performances on YouTube: a. Katy the Musical b. Kitang Dalawa, Atang the Musical c Magsimula Ka performed by Lea Salonga; Leo Valdez d. Magandang Gabi performed by Nonoy Zuniga e. El Filibusterismo, the Musical f. Noli Me Tangere, the Musical g. Daragang Magayon h. Andres Bonifacio: Ang Dakilang Anak Pawis 3. After watching and listening to the performances, ask the students to express their personal reactions or feelings about these works through group discussion and analysis. Report the outcome of the group discussion in class.

C.

INTEGRATION The lesson on 20th and 21st Century Multi Media Forms may be integrated with Philippine History, Music, and Arts for a better understanding of the creative styles and their sources of influence. Infusion of values: Appreciation of our nationalist composers, lyricists, story tellers, and performers as major exponents of our cultural heritage expressed through Philippine musical plays.

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MUSIC Teacher’s Guide

D.

GENERALIZATION In the Philippines, the musical play is a more recent development than Broadway and West End, relying mostly on adaptations from novels, folktales, legends, myths, history, literary works, or biographical sketches of famous artists and heroes. Musical plays have been associated with the Broadway plays of New York City and West End Productions in London, including My Fair Lady, South Pacific, Camelot, West Side Story, Les Miserables, 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:

IV.

1.

How did the different forms of Philippine music reflect life in the 20th century?

2.

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

3.

What role did media like radio, television, and recordings play in the development of these different musical genres?

4.

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

5

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

6.

Describe how an idea or story in a musical play is presented in a live performance or video presentation.

WHAT TO PROCESS Listening and Singing Activities

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1.

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

2.

Play musical excerpts from the songs listed below.

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Quarter IV: 20th and 21st Century Multimedia Forms

Songs from Broadway Musicals a. 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 Plays a. Noli Me Tangere (Buksan Mo ang Iyong mga Mata, Paalam na Pag-ibig,Sa Muling Pagkikita, Dalawang Liham, Tatlong Sulok ng Pag-ibig, Ang Mga Sawimpalad, Ang Multo sa Lawa, Ang Totoo ay Totoo, 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, Anuman Gagawin) d. Katy! (Balut!; Ang Entablado ay Mundo; Tale, Tale; Pahiram ng Kanta; Tupada; Bituing Tahimik; Minsan ang Minahal ay Ako) e. Atang - Dulang May Musika (Nasaan Ka Irog, Pakiusap, Madaling Araw, 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, Pagibig, Pag-asa, May Dilim, May Liwanag, Kahit Isang Dukha, May Langit Ding Malalasap, Buhay Disco, Sisikat Din Ako, Tanging Ikaw Lamang, 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 or from the internet (YouTube), using the lyrics that they researched. Time allotment for each group is five (5) to ten (10) minutes only. Let them add choreography and use musical instruments, if needed.

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MUSIC Teacher’s Guide

Evaluation of Listening Activity of Broadway Musicals Let the students answer the following. Rating scale:

5 = Very Good 4 = Good 3 = Fair

2 = Poor 1 = Needs Follow-up

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

Broadway Musicals 1. How well did I listen to the songs from Broadway musicals? a. b. c. d. e. f. g. h. i.

B.

Mamma Mia (from Mamma Mia) Don’t Cry for Me Argentina (from Evita) Summer Nights (from Grease) Tomorrow (from Annie) Memory (from Cats) Beauty and the Beast (from Beauty and the Beast) Sun and Moon (from Miss Saigon) Send in the Clowns (from A Little Night Music) On My Own (from Les Miserables)

__________ __________ __________ __________ __________ __________ __________ __________ __________

2. How well can I identify songs from Broadway musicals?

__________

3. How well can I describe the qualities of Broadway music through listening?

__________

Philippine Musical Plays 1. How well did I listen to any of the vocal interpretations of songs from Philippine musicals?

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a. Noli Me Tangere Song title: _____________________________

__________

b. El Filibusterismo Song title: _____________________________

__________

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Quarter IV: 20th and 21st Century Multimedia Forms

c. Andres Bonifacio: Ang Dakilang Anak-Pawis Song title: _____________________________

__________

d. Katy! Song title: _______________ ______________

__________

e. Atang - Dulang May Musika Song title: _______________ ______________

__________

f. Florante at Laura Song title: _____________________________

__________

g. Daragang Magayon Song title: _______________ ______________

__________

h. Magsimula Ka Song title: _____________________________

__________

2. How well can I identify songs from Philippine musicals?

__________

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

__________

Evaluation of the Singing Activity Let the students answer the following: Rating Scale:

5 - Very Good 4 - Good 3 - Fair

2 - Poor 1 - Needs Follow-up

Rate scores are based on the performance quality. Rating the other performers / groups: 1.

2.

How well did the performer/s express the message of the musical?

______________

How well did the performer/s act based on the following:

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MUSIC Teacher’s Guide

a. b. c. d. f.

VI.

voice quality expression stage presence audience impact mastery of the musical

______________ ______________ ______________ ______________ ______________

WHAT TO UNDERSTAND Group Activity

VII.

1.

Divide the class into four groups.

2.

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

3.

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

4.

For the music, they may compose their own songs or they may use or adapt the melodies of existing songs such as folksongs, indigenous music of your area, pop, classical, Broadway, and OPM. Then, let them write their own lyrics 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 bond paper: “What insights did I gain from this activity?”

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 Philippine musical and an excerpt of a Broadway musical.

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Quarter IV: 20th and 21st Century Multimedia Forms

3. Let them highlight the similarities and differences between these two forms of musicals. 4. They may use musical instruments as accompaniment for their music works or they may perform a capella (without accompaniment). 5. They may use props and costumes, if needed. Let them create or improvise appropriate sounds, music, gestures, movements, and costume using media and technology for a selected part of the musical play and broadway musical. 6. Let them perform the short musical play in class. They may add some choreography or movements and improvised props and costumes, if needed. 7. Ealuate the performance based on: - musicianship (musical elements) - audience impact - stage presence - stage discipline and deportment

50% 20% 20% 10%

8. Announce the “Best Group Performance Award.”

B.

Recording or Music Video 1. Divide the class into groups and let the students choose a group leader who will assign 1 or 2 members to record the performance of their group. They may use a cassette recorder or they make a music video using their mobile phone, digital camera, or video camera. 2. Have each group play their recorded performance or music video to their classmates. 3. Choose the “Best Video.”

Evaluation of Performing Activities Let the students answer the questions. Rating Scale:

5 - Very Good 4 - Good 3 - Fair

2 - Poor 1 - Needs Follow-up

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MUSIC Teacher’s Guide

Rate scores are based on the performance quality. Rating myself: 1.

How well did I perform with my group the following musical styles? a. Philippine musical play __________ b. Broadway musical __________

2

How well can I identify the different musical genres based on instrumentation, text, and purpose?

__________

How well can I describe the characteristics of each through listening and singing to their melody, harmony, rhythm, text, and mass appeal?

__________

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

__________

3.

4.

Rating your own group members: 1.

VI.

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?

__________

GENERALIZATION In the Philippines, the musical play is a more recent development than Broadway and 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 the musical play production leans more towards the artistic and collaborative conception of music, dance, and visual effects rather than the thematic emphasis of the opera.

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Quarter IV: 20th and 21st Century Multimedia Forms

VII.

EVALUATION 1.

Let the students listen to some songs from the Philippine musicals and Broadway 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 them say at least two things learned about the Philippine and Broadway musicals on which the title is drawn.

VIII. ENRICHMENT ACTIVITY 1.

Songs from Philippine musicals - Let the students listen to some songs from the following Philippine musicals: Song of Joseph Mayo Bisperas ng Liwanang (May Day Eve) The Legend of M Larawan ng Kababaihan: Maskara at Mukha Hades Ladies by Fides Cuyugan-Asensio

2.

Film Viewing - Let the students watch any Philippine musicals and Broadway musicals in VCD/DVD format, o they may watch excerpts or video clips on the internet or YouTube. Have them write a reaction paper on the viewed musical.

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MUSIC Teacher’s Guide

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ARTS

Grade 10 Teacher’s Guide

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ARTS Teacher’s Guide

Quarter I: MODERN ART

CONTENT STANDARDS The learner demonstrates understanding of… 1. art elements and processes by synthesizing and applying prior learnings and skills. 2. the arts as integral to the development of organizations, spiritual belief, historical events, scientific discoveries, natural disasters/occurrences, and other external phenomena. PERFORMANCE STANDARDS The learner… 1. performs/participates competently in a presentation of a creative impression (verbal/nonverbal) from the various art movements. 2. recognizes the difference and uniqueness of the art styles of the various art movements (techniques, processes, elements, and principles of art). LEARNING COMPETENCIES The learner… 1. analyzes art elements and principles in the production of work following a specific art style from the various art movements. 2. identifies distinct characteristics of arts from the various art movements. 3. identifies representative artists and Filipino counterparts from the various art movements. 4. derives the mood, idea, or message from selected artworks. 5. determines the role or function of artwork by evaluating their utilization and combination of art elements and principles. 6. uses artworks to derive the traditions/history of the various art movements. 7. compares the characteristics of artworks produced in the various art movements. 8. creates artworks guided by techniques and styles of the various art movements. 9. describes the influence of iconic artists belonging to the various art movements. 10. applies different media techniques and processes to communicate ideas, experiences, and stories showing the characteristics of the various art movements. 11. evaluates works of art in terms of artistic concepts and ideas using criteria from the various art movements. 12. shows the influences of modern art movements on Philippine art forms. 13. mounts an exhibit using completed artworks influence by Modern Art movements. From the Department of Education curriculum for ARTS Grade 10 (2014)

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Quarter I: Modern Art

Quarter I – Session 1 MODERN ART: IMPRESSIONISM

I.

II.

SUBJECT MATTER A.

Topic:

Modern Art: Impressionism  The Origins of the Movement  A Break From Past Painting Traditions  Works of Manet, Monet, and Renoir  Post-Impressionism: Works of Cezanne and Van Gogh

B.

Materials:

Colored reproduction(s) of any impressionist artwork(s) Photographs of impressionist artists (e.g., Van Gogh)

C.

Reference:

Arts Grade 10 Learner’s Materials, pages 189 - 203

PRE-ASSESSMENT Conduct the following survey to assess what the students know or have experienced concerning modern art and impressionism: 1. 2. 3. 4. 5. 6.

What comes to mind when you hear the term “modern art”? Give some qualities or characteristics that make you consider an artwork “modern.” How is modern art different from earlier styles of art that you know? Have you heard of the art movement known as impressionism? If yes, can you name one famous impressionist artist that you know of? Can you name or recognize one well-known artwork in the impressionist style?

III. ORIENTATION ON QUARTER I CULMINATING EXHIBIT General instructions: 1. Explain to the students that the culminating activity for Quarter I will be an Exhibit of Modern Art. 2. Brief them that the various artworks that they will create in all the sessions of Quarter I will be labelled for proper curating and will be turned over to you for safekeeping, to be retrieved for mounting in the final exhibit. 3. Explain that, due to time constraints with just eight class sessions for Art in one quarter, they must be prepared to complete the artworks and/or do other required tasks for the exhibit outside of class hours.

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ARTS Teacher’s Guide

IV. ACTIVITIES A.

PRESENTATION OF THE TOPIC 1. Ask the students to explain what they understand by the term “first impression.” Have them describe the qualities of an impression. Note down their different ideas on the chalkboard. Then briefly summarize these to arrive at a definition of an impression (e.g., a quick glance, an unclear or incomplete image of something, a partial sense of what something is, etc.). 2. Explain that this particular session will present the pre-modern art movement that came to be called impressionism. And they will learn the reason why. 3. Present to the class a colored reproduction of an impressionist artwork. Give the title of the work and the name of the artist. 4. Have the class turn to page 190 of the Arts Grade 10 Learner’s Materials, and ask them to read silently the definition and general characteristics of impressionism. 5. Call on students to briefly explain the following distinct characteristics of this movement: a. Color and light b. Ordinary subjects c. Painting outdoors d. Open composition e. The influence of photography 6. Ask them to explain if the sample reproduction you had presented fits these general characteristics of an impressionist artwork or not. Have them cite details. (For example, ask them if the painting’s style appears realistic to them or not; what the subject is, if the forms are distinct; what the colors are like, etc.). 7. Have the class turn to pages 194 to 200 of the Arts Grade 10 Learner’s Materials, to see and appreciate the sample works of the great impressionist masters Edouard Manet, Claude Monet, Auguste Renoir, Paul Cezanne, and Vincent Van Gogh. Call on a few volunteers to express their reactions to these works.

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Quarter I: Modern Art

B.

WHAT TO KNOW On impressionism - Have the class answer the What to Know questions on page 193 of the Arts Grade 10 Learner’s Materials: 1. How did the term impressionism originate? What did it mean? 2. In what country did this art movement begin, and in what period of history? 3. What was the significance of the painting technique used by Delacroix in the development of the impressionist style? 4. What characteristics distinguished impressionism from the art movements of the earlier centuries? Cite and briefly describe at least three of these characteristics. 5. How was the impressionist style influenced by the early stages of photography? On the works of the impressionist masters - Have the class answer the What to Know questions on page 200 of the Arts Grade 10 Learner’s Materials: 1. 2. 3. 4.

Name three of the most prominent artists of the impressionist movement. Cite one outstanding characteristic of each of these artists. Who were two of the most famous post-impressionists? What new techniques or styles distinguished post-impressionism from the earlier impressionism? 5. Identify 2 to 3 specific artworks where these techniques are prominently seen.

C.

WHAT TO PROCESS The new color technique - Have the class do the “What to Process” activity on page 193 of the Arts Grade 10 Learner’s Materials. To help them understand the revolutionary technique for applying color introduced by the impressionists (as seen in the painting by Delacroix), have them experiment with this simplified process: 1. Take a set of watercolors (cake type or in tubes). Choose one secondary color: orange, green, or violet. 2. Color a shape on a paper using this single secondary color. 3. Beside it, color a similar shape using strokes of the two primary colors that are combined in that particular secondary color (ex: red + yellow = orange; blue + yellow = green; red + blue = violet).

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ARTS Teacher’s Guide

4. Hold the paper some distance away and ask your classmates to comment on the “impression” of the secondary color you have created and the actual color itself.

Impasto - Have the class do the “What to Process” activity on pages 200 201 of the Arts Grade 10 Learner’s Materials. Materials: ¼ illustration board or chipboard Tubes of acrylic paints (can be shared among the class members) Paintbrushes Wooden popsicle sticks Pencil Rags for clean up Procedure: 1. Decide on a simple design for your artwork. Keep in mind what colors of paints are available to you. 2. Using a pencil, sketch in the general design on the illustration board or chipboard. 3. Apply the paints to your design with the brush, then more thickly with the popsicle sticks and, in certain spots, squeeze the paint directly from the tube. 4. Allow the paint to dry thoroughly before handling or displaying the finished artwork.

D.

WHAT TO UNDERSTAND Have the class answer the What to Understand questions on pages 201 202 of the Arts Grade 10 Learner’s Materials: Impressionism and the Rise of Modern Art 1. Was the name “impressionism” fitting for this art movement? Why do you say so? 2. From your knowledge of world history during the late 19th century, do you note a relation between the impressionist styles and the major events of that period? 3. Do you agree that impressionism set the stage for the succeeding movements of modern art? If so, in what ways? 4. Do you see this style reflected even in the works of today’s artists? Explain briefly. 5. Do you know of any Filipino artists who also used or use the

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Quarter I: Modern Art

impressionist style? If yes, explain how they applied this style in their works. If not, you may want to research on this on the internet to discover something new. Elements and Principles of Art in Impressionism 1. As a review, briefly describe each of the following elements of art which you have learned in your Art classes in the earlier grade levels. a. Line b. Shape c. Form d. Space e. Color f. Value g. Texture 2. Now review the following principles of art which you have also studied before. Briefly describe each one. a. Rhythm / Movement b. Balance c. Emphasis d. Harmony / Unity / Variety e. Proportion 3. For each element of art above, cite one sample work by an impressionist or post-impressionist painter and briefly describe how this element was applied in a new way. You may use the following sample format: Ex.:

Element: Line Name of artist:_______________________________________ Title of work: _______________________________________ How the element was applied: __________________________

4. For each principle of art above, cite one sample work by an impressionist or post-impressionist painter and briefly describe how this principle was applied in a new way. You may use the following sample format: Ex.:

Principle: Rhythm/Movement Name of artist:_______________________________________ Title of work: _______________________________________ How the principle was applied: _________________________ 95

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ARTS Teacher’s Guide

Impressionism and You 1. Which of the impressionist masters—Manet, Monet, Renior, Cezanne, and Van Gogh—has a style that most strongly appeals to you? Explain briefly. 2. Is there a value in learning about art movements like impressionism that arose over a century ago, halfway around the world from us? Why or why not? 3. On a personal level, what struck you most about the impressionist style of art? 4. Would you want to experiment further with painting in this style? Explain briefly. 5. Would you want to own an artwork in the impressionist style? Why or why not?

E.

WHAT TO PERFORM Preparing for the Culminating “Exhibit of Modern Art” Guide the students in preparing their artworks for the culminating exhibit at the end of the quarter. 1. All the finished artworks should be labelled with original titles, the student’s name or the group members’ names, the date, and the technique used. 2. Store the finished artworks for inclusion in the exhibit at the end of the quarter.

V.

GENERALIZATION Impressionism was an art movement that planted the seeds for what we now know as modern art. The movement began in Europe in the mid-1800s and introduced exciting new approaches and techniques for applying the elements of art (particularly color and texture) in ways that gave impressionist paintings a sense of energy, freshness, and intensity. Impressionism was more concerned with capturing a sense or feel of the subject (in other words, an “impression”), rather than a realistic rendering. Thus, this movement shifted away from posed scenes created inside studios to everyday, sometimes mundane, subjects painted outdoors in natural light.

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Quarter I: Modern Art

Among the most famous impressionist artists were Edouard Manet, Claude Monet, Auguste Renoir, and Paul Cezanne from France; and Vincent Van Gogh from The Netherlands.

VI.

SUMMATIVE TEST Use the following quiz items to assess the students’ grasp of the topics discussed: 1. How did the term impressionism originate? 2. What did it mean? 3. Why is Delacroix’s painting, The Barque of Dante, considered so significant in the emergence of the impressionist style? 4. Cite and briefly describe at least three qualities that distinguished impressionism from the art movements of the earlier centuries. 5. Who were some of the key figures in this movement? 6. Name one impressionist painter and one post-impressionist painter. 7. Name at least 3 impressionist artworks.

Quarter I – Sessions 2 and 3 EXPRESSIONISM: A BOLD NEW MOVEMENT

I.

SUBJECT MATTER A.

Topic:

Expressionism: A Bold New Movement  neoprimitivism  fauvism  dadaism  surrealism  social realism

B.

Materials:

Colored reproduction(s) of any expressionist artwork(s) Photographs of expressionist artists (e.g., Pablo Picasso) For art project: ¼ cartolina or ¼ box board; acrylic, poster paints, or any available paints; markers, crayons, pastels, or colored pencils; glue or paste

C.

Reference:

Arts Grade 10 Learner’s Materials Pages 203 - 208

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ARTS Teacher’s Guide

II.

PRE-ASSESSMENT Conduct the following survey to assess what the students know or have experienced concerning expressionism: 1. Is the name of the art movement “expressionism” familiar to you at all? If yes, what do you know about this movement? 2. Have you heard of the artistic styles known as “surrealism” or “dadaism”? 3. If yes, do you know of any famous artist who painted in these styles? 4. Would you like to own an artwork in an expressionist style? Why or why not?

III. ACTIVITIES [Session 2] A.

PRESENTATION OF THE TOPIC 1. Present to the class a colored reproduction of an expressionist artwork. Give the title of the work and the name of the artist. Let the students give their comments as to whether this artwork fits their ideas about Modern Art. 2. Have the class turn to page 203 of the Arts Grade 10 Learner’s Materials, and ask them to read silently the definition and general characteristics of expressionism. Call on some students to give the definition and characteristics in their own words. 3. Review briefly with the class the elements of art that they have studied in the earlier grades: a. line d. color b. shape / form e. value c. space f. texture Call on some students to comment on how the artwork you presented makes use of these elements to exhibit the qualities of expressionism. 4. Divide the class into five groups. Assign to each group one of the movements under expressionism: a. neoprimitivism d. surrealism b. fauvism e. social realism c. dadaism 5. Have each group read the description of their assigned art movement (Arts Grade 10 Learner’s Materials, pages 203 - 208) and study the sample works.

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Quarter I: Modern Art

6. Have each group make a brief presentation in front of the class, describing their assigned art movement and pointing out its characteristics in the sample work (with title and artist’s name). 7. Show the photograph of Pablo Picasso. Explain that he was one of the most famous expressionists, whose works are known the world over.

B.

WHAT TO KNOW Have the class answer the What to Know questions on page 211 of the Arts Grade 10 Learner’s Materials: 1. Describe how the different elements and principles were used by expressionist artists to convey their individual style. Discuss 3 examples from works in this Learning Material. 2. What qualities make an artwork expressionistic? 3. Where did neoprimitivism get its influences? 4. Who is the French artist famous for his fauvist style? 5. What are the characteristics of fauvism? 6. Why was the child’s term “dada” fitting for the art movement known as dadaism? 7. What style of painting is Salvador Dali known for? 8. What art movement expressed the artists’ social role?

C.

WHAT TO PROCESS [Session 3] Have the class do the “What to Process” activities on page 212 of the Arts Grade 10 Learner’s Materials. Divide the class into groups of 5 to 6 students each. Create a Work of “Social Realism” Give these instructions to the group members: 1. With your groupmates, choose a current issue in society that you feel needs to be addressed. 2. Select art materials that are readily available, such as one whole sheet of cartolina; acrylic paints, poster paints, or any available paints; markers, crayons, pastels, or colored pencils; #8 brush; scissors; glue or paste; and pictures from magazines, newspapers, or calendars. 3. Working as a group, plan how to use these materials to express your message about your chosen social issue. 4. Assign a task to each group member, then create your artwork together. (Note: Remember that expressionism made use of very strong images and colors, and expressed deep emotions.) 99

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ARTS Teacher’s Guide

5. 6. 7. 8.

D.

Decide on a title for your group artwork. Present your finished artwork to the rest of the class. Join in the discussion about the social message of each group’s artwork. Comment on how each group effectively used the characteristics of expressionism (through the elements and principles of art) to convey this social message.

WHAT TO UNDERSTAND Have the class answer the What to Understand questions on page 213 of the Arts Grade 10 Learner’s Materials: 1. How was expressionist art an outgrowth of life in modern society? 2. Were all surrealist artworks gloomy? Support your answer. 3. Which among the forms of expressionism (fauvism, dadaism, surrealism, social realism) appeals to you the most? And which does not appeal to you at all? Explain why. 4. Expressionism in Philippine art – Research online for works by Filipino artists who used variations of this style (e.g., Cesar Legaspi). Give your personal reaction to these.

E.

WHAT TO PERFORM Preparing for the Culminating “Exhibit of Modern Art” Guide the students in preparing their artworks for the culminating exhibit at the end of the quarter. 1. All the finished artworks should be labelled with original titles, the student’s name or the group members’ names, the date, and the technique used. 2. Store the finished artworks for inclusion in the exhibit at the end of the quarter.

IV. GENERALIZATION Expressionism is a movement of modern art that began in Europe in the early 1900s. It was more concerned with emotional impact, rather than realism. To do this, it made use of distorted outlines, strong colors, and exaggerated forms.

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Quarter I: Modern Art

Expressionism has several sub-movements, namely: neoprimitivism, fauvism, dadaism, surrealism, and social realism. The Spanish painter Pablo Picasso was one of the foremost figures in expressionist art, along with Henri Matisse, Salvador Dali, Paul Klee, and Joan Miro.

V.

SUMMATIVE TEST Use the following quiz items to assess the students’ grasp of the topics discussed: 1. Give a brief definition of the modern art movement called expressionism. 2. When and where did it begin? 3. Name three expressionist artists that you learned about in this session. 4. Name the five sub-movements of expressionism. 5. Describe the distinct characteristics of each sub-movement in terms of how it made use of the elements and principles of art.

Quarter I - Sessions 4 and 5 ABSTRACTIONISM

I.

SUBJECT MATTER A.

Topic:

Abstractionism  cubism  futurism  mechanical style  nonobjectivism

B.

Materials:

Photograph of Pablo Picasso (optional) Sample “abstract artwork” (teacher-made from a magazine photograph cut into segments and creatively re-assembled) Colored reproduction(s) of any abstract artwork(s) For art project 1: magazine, oslo paper, scissors, glue/paste For art project 2: ¼ cartolina or box board; scissors; masking tape; acrylic, poster paints, or any available paints; #8 round brush

C.

Reference:

Arts Grade 10 Learner’s Materials Pages 208 - 211

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ARTS Teacher’s Guide

II.

PRE-ASSESSMENT Conduct the following survey to assess what the students know or have experienced concerning abstractionism: 1. 2. 3. 4. 5. 6.

What ideas come to mind when you hear the term “abstract art”? In your opinion, what does an abstract artwork look like? Do you know the name of any abstract artist—foreign or Filipino? Have you heard of the artistic style known as “cubism”? If yes, why do think it was named in this way? Have you heard of Pablo Picasso? What country did he come from? What artistic style is he most famous for? Would you like to own an abstract artwork? Why or why not?

III. ACTIVITIES A.

PRESENTATION OF THE TOPIC [Session 4] 1. Show the teacher-made abstract artwork. Ask the students to identify the image they see in it. 2. Have them explain what makes it possible for them to still identify the image, even if it has been assembled in a mis-aligned way. 3. Have them turn to pages 208 to 211 of the Arts Grade 10 Learner’s Materials and read about the art movement known as abstractionism. 4. Based on their reading, ask the students explain how abstract art is similar to expressionist art; and how it is different from expressionist art. 5. Ask the students to count off “1-2-3-4.” Have all those who counted “1” group together; those who counted “2” group together; and so on. Assign each group one of the sub-movements of abstractionism: a) cubism b) futurism c) mechanical style d) nonobjectivism 6. Challenge each group to think of a creative way of explaining the characteristics of each sub-movement based on the root word of its name: a) “cube” for cubism b) “future” for futurism c) “machine” for mechanical style d) “not objective” for nonobjectivism

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Quarter I: Modern Art

7. Have each group support their explanation with a sample artwork from the Arts Grade 10 Learner’s Materials, pages 208 - 211.

B. WHAT TO KNOW Have the class answer the What to Know questions on page 211 of the Arts Grade 10 Learner’s Materials: 1. Explain the difference between expressionism and abstractionism. 2. How did the cubists give a sense of dynamism and energy to their works? 3. Who is considered the most famous abstractionist and cubist artist? 4. Describe how each of the following styles reflected modern life: a) futurism b) mechanical style c) nonobjectivism

C.

WHAT TO PROCESS [Session 5] Have the class do the “What to Process” activities on pages 212 to 213 of the Arts Grade 10 Learner’s Materials. Divide the class into Groups A, B, C, D, E, and F with approximately 6 to 7 students each. Groups A, B, C: Create a “ Picasso” Give these instructions to the group members: 1. Review the description of Picasso’s cubist style. 2. Based on this, plan a cubist artwork for your group to create. 3. Prepare a magazine, assorted photographs, 1 sheet of oslo paper, scissors, and glue or paste. 4. Select a large photograph from the magazine and/or the other photos, and cut these up into segments of different shapes and sizes. 5. Glue or paste the segments on the oslo paper in a creative way, but with the image still recognizable. 6. Give your cubist artwork a title. 7. Display it in front of the class, together with the works of the other groups. 8. Join your classmates in giving personal reactions to each other’s work. Group D, E, F: Create a “ Mondrian” Give these instructions to the group members: 1. Review the description of Mondrian’s style of painting. 2. Based on this, plan a non-objectivist artwork for your group to create. 3. Prepare ¼ sheet of cartolina; masking tape; scissors; a #8 round 103

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ARTS Teacher’s Guide

4. 5. 6.

7. 8.

D.

paintbrush; and acrylic, poster, or any available paints in primary colors, black, and white. Use the tape to mask off strips and spaces on the board. Paint the exposed areas using your chosen colors. Wait for the paint to dry. Continue masking and painting, overlapping strips of color to create a Mondrian effect, until you have completed your artwork. (Note: Allow the paint to dry thoroughly between applications before laying the masking tape to avoid destroying your design.) Give your painting a title. Display it in front of the class, together with the works of the other groups. Join your classmates in giving personal reactions to each other’s works.

WHAT TO UNDERSTAND Have the class answer the What to Understand questions on page 213 of the Arts Grade 10 Learner’s Materials: Abstractionism 1. Which form of abstractionism do you find most striking, and why? 2. Do you consider action painting, color field painting, and pictographic painting true art? Why or why not? 3. Abstractionism in Philippine art – Research online for works by Filipino artists who used variations of this style (e.g., Arturo Luz, Jose Joya, and others). Give your personal reaction to these. Cubism 4. Recall the message expressed in the painting Guernica by Picasso. Study the details that he incorporated to convey that message. 5. Do you think his technique was effective? Why or why not? 6. How does the painting make you feel? 7. Cubism in Philippine art – Research online for works by Filipino artists who used variations of this style (e.g., Vicente Manansala and others). Give your personal reaction to these.

E.

WHAT TO PERFORM Preparing for the Culminating “Exhibit of Modern Art” Guide the students in preparing their artworks for the culminating exhibit at the end of the quarter.

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Quarter I: Modern Art

1. All the finished artworks should be labelled with original titles, the student’s name or the group members’ names, the date, and the technique used. 2. Store the finished artworks for inclusion in the exhibit at the end of the quarter.

IV. GENERALIZATION Abstractionism was another movement of modern art in Europe in the early 1900s. While expressionism was emotional, abstractionism was logical and rational. It reduced an image into geometrical shapes, patterns, lines, angles, textures, and fields or strokes of color—in effect, the elements of art. Abstractionism has several sub-movements, namely: cubism, futurism, mechanical style, and nonobjectivism. Pablo Picasso is one of the foremost figures in abstract art, along with Fernand Leger and Piet Mondrian.

V.

SUMMATIVE TEST Use the following quiz items to assess the students’ grasp of the topics discussed: 1. Give a brief definition of the modern art movement called abstractionism. 2. Who is the renowned Spanish artist who spanned both expressionist and abstract art? 3. Name the four sub-movements of expressionism. 4. Describe the distinct characteristics of each sub-movement. 5. Who is the artist known for the mechanical style? 6. Who is the artist known for the nonobjectivist style?

Quarter I - Session 6 ABSTRACT EXPRESSIONISM, POP ART, OP ART

I.

SUBJECT MATTER A.

Topic:

Abstract Expressionism, Pop Art, Op Art New York School (action painting, color field painting)  neodadaism and pop art  conceptual art  op art  105

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ARTS Teacher’s Guide

B.

Materials:

World map (optional) Sample “melted crayon” artwork Colored reproduction(s) of any artwork(s) of this period For action painting: 1 whole cartolina or 1 whole box board, acrylic paints, 1-inch paintbrushes, sponges, rags, popsicle sticks For color field painting: 1 whole cartolina or 1 whole box board; acrylic, poster paints or any available paints; #8 round brush (for outlines), sponges, rags For pop art: 1 whole cartolina or 1 whole box board, colored magazines, scissors, glue or paste, coloring materials, #8 round brush or sponges

C.

II.

Reference:

Arts Grade 10 Learner’s Materials Pages 214 - 219

PRE-ASSESSMENT Conduct the following survey to assess what the students know or have experienced concerning pop art and/or op art: 1. 2. 3. 4. 5.

Have you heard of the terms “pop art” and “op art”? If yes, briefly describe what you know about each of these styles. If not, what do you think the names of these styles refer to? Can you name any well-known artists using these styles? Can you guess what types of subjects these styles depicted?

III. ACTIVITIES A.

PRESENTATION OF THE TOPIC 1.

2. 3.

Show the world map (if available) and ask student volunteers to point to the countries where the modern art movements of the early 20th century were found: France, Spain, Germany, and Italy. Ask another student volunteer to locate New York City on the map. Point out to the class that this traces the “migration” of the modern art movements from Europe to North America in the mid-1900s.

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Quarter I: Modern Art

4.

5. 6.

7. 8.

9.

B.

Have the students turn to pages 214 to 219 of the Arts Grade 10 Learner’s Materials, and read about abstract expressionism, pop art, and op art. Based on their reading, ask the students to describe the art movement that came to be known as “The New York School.” Present the sample melted crayon artwork (a project that is common in elementary school Art classes). Have the students describe how such an artwork is made. Ask them to compare this with the action painting style of American artist, Jackson Pollock, as seen in the Learner’s Materials. Call on students to describe the different styles and characteristics of the various movements that arose in American modern art: a) action painting b) color field painting c) neodadaism and pop art d) conceptual art e) op art Have them support their descriptions with the sample artworks in the Learner’s Materials, pages 214 - 219.

WHAT TO KNOW Have the class answer the What to Know questions on page 220 of the Arts Grade 10 Learner’s Materials: Abstract Expressionism: Action Painting, Color Field Painting 1. What were two of the art movements that emerged from The New York School? 2. Why were action painting and color field painting given these names? 3. Who was the artist who became famous for his action painting style? 4. Describe how the elements and principles of art were used in the unique techniques and approaches of these movements. Conceptual Art, Neodadaism, Pop Art, Op Art 5. What is conceptual art? How is it unlike any other art movement before it? 6. How was neodadaism different from the earlier dadaism movement? 7. From where did pop art draw its subjects? 8. Name the foremost artists of the pop art movement. 9. Explain how the elements of art were used to create the special technical effect in op art.

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ARTS Teacher’s Guide

C.

WHAT TO PROCESS Have the class do the “What to Process” activities on pages 220 to 222 of the Arts Grade 10 Learning Materials. Group Projects: “My Own Modern Art” Divide the class into six groups, and assign the art styles as follows: Groups 1 and 4 - Action painting Groups 2 and 5 - Color field painting Groups 3 and 6 - Pop art Instruct the groups to follow their respective procedures below: Procedure for Action Painting 1. Prepare your materials – 1 whole cartolina, box board, or other recycled board; acrylic paints; 1-inch paintbrushes, sponges, or popsicle sticks; recycled mixing plates; small rags for cleaning up; newspaper for covering work surface. 2. As a group, discuss the overall composition and technique that you will use. 3. Select desired colors of paint and apply these to the board using actions such as brushing, sprinkling, dripping, and flicking. Let the paint dry. 4. Decide on a title for your group painting and display it in the classroom. 5. Be ready to explain the “action painting” techniques that you used and to exchange comments with the other groups about their works. In what ways are they the same? In what ways are they different?

Procedure for Color Field Painting: Pictograph Approach 1. Prepare your materials – 1 whole cartolina or 1 whole box board; acrylic, poster, or any available paints in primary colors, black, and white; #8 paintbrushes; small rags for cleaning up. 2. As a group, plan the overall composition and technique that you will use. Select colors of paint similar to those used by color field artists, and plan how these will be arranged in your artwork. 3. Use the #8 brush to paint small picture fragments or symbols in a 108

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Quarter I: Modern Art

repeating pattern on the entire cartolina or board. Let the paint dry. 4. Decide on a title for your group painting and display it in the classroom. 5. Be ready to explain the pictograph approach that you used and to exchange comments with the other groups about their works. Procedure for Pop Art 1. Prepare your materials – 1 whole cartolina or 1 whole box board; old colored magazines, newspapers, or calendars; scissors; glue or paste; watercolors, acrylic paints, poster colors, crayons, or pastels; #8 paintbrushes and/or sponges. 2. Select a “popular” subject for your artwork (e.g., a product, celebrity, movie or television character, sport, place, brand name, etc.). Plan how this will be depicted using your available materials. 3. Cut out images, letters, etc. from the magazines, newspapers, or calendars, and glue or paste them on the cartolina or board. Color the surrounding background with watercolors, poster colors, or any available paints. You may add details with crayons or pastels. 4. Decide on a title for your group artwork and display it in the classroom. 5. Be ready to explain the pop art style and techniques that you used (e.g., inspired by Andy Warhol, Roy Lichtenstein, etc.) and to exchange comments with the other groups about their works.

D.

WHAT TO UNDERSTAND Have the class answer the What to Understand questions on page 222 of the Arts Grade 10 Learner’s Materials: 1. Explain the shift of the center of art from Europe to the United States in the mid-1900s. What political, economic, or social conditions caused this shift? 2. Was modern art readily accepted as “true art”? Why or why not? 3. How did the U.S. involvement in modern art eventually influence Philippine art? What historical developments allowed this to happen? 4. Can you name any Filipino artists who used or are using any of these modernist styles? 5. Do these styles appeal to you? Explain why or why not. 109

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ARTS Teacher’s Guide

F.

WHAT TO PERFORM Preparing for the Culminating “Exhibit of Modern Art” Guide the students in preparing their artworks for the culminating exhibit at the end of the quarter. 1. All the finished artworks should be labelled with original titles, the student’s name or the group members’ names, the date, and the technique used. 2. Store the finished artworks for inclusion in the exhibit at the end of the quarter.

IV. GENERALIZATION By the mid-1900s, the center of Modern Art moved from Europe to America. Daring American artists came up with their own synthesis of Europe’s cubism and surrealism, known as abstract expressionism. The U.S. modern art movement has several sub-movements, namely: the New York School (which included action painting and color field painting), neodadaism, pop art, conceptual art, and op art. The foremost figure in early U.S. modern art is Jackson Pollock.

V.

SUMMATIVE TEST Use the following quiz items to assess the students’ grasp of the topics discussed: 1. 2. 3. 4. 5. 6.

Where did the center of modern art move to from Europe? When did this take place? Name the sub-movements of American modern art. Briefly describe the characteristics of each. Name the American artist known for his action painting. Comment on why early American modern art was not easily understood or accepted by the general public.

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Quarter I - Session 7 INSTALLATION AND PERFORMANCE ART

I.

SUBJECT MATTER A.

Topic:

Installation and Performance Art

B.

Materials:

Colored photographs of installation art and performance art For installation art project: various art materials (as decided upon by the students), found objects, etc.

C.

II.

Reference:

Arts Grade 10 Learner’s Materials Pages 223 - 228

PRE-ASSESSMENT Conduct the following survey to assess what the students know or have experienced concerning installation art and performance art: 1. 2. 3. 4.

Do you know what installation art is? Have you ever seen an actual example of this type of art? If yes, what was it? Briefly describe it. Do you know what performance art is? Have you ever witnessed or watched such a form of art? If yes, what was your reaction to it and why?

III. ACTIVITIES A.

PRESENTING THE TOPIC Ask the students if they have ever “walked through” an artwork. Explain that the “installation art” they will encounter in this lesson allows just that. Explain that the other form, called “performance art,” again makes use of the human body, gestures, and sounds to convey its message. Installation art 1. Show the photograph of installation art (if available) or refer to the examples in the Learner’s Materials. 111

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2.

3.

Ask the students to show how the elements and principles of art are applied in these works and to identify the unique materials used, the location, etc. Have them interpret the themes or messages being expressed by these artworks and give their personal comments and reactions.

Performance art 1. Select five students at random and secretly instruct them to plan a one-minute, no-dialogue presentation on “Alas Singko Na: Rush Hour!” (Example: five people waiting in a jeepney line, anxious to get a ride.) 2. Give them only five minutes to confer, and then have them make their presentation. 3. Afterwards, ask the rest of the class to interpret the theme of the presentation and to give their reactions. 4. Have them comment on whether or not it would qualify as “performance art,” as they now understand it. 5. Ask them to describe the characteristics of performance art. 6. Facilitate a discussion among the students about how these two art forms could serve as: a) forms of communication in the modern era b) forms of commentary on current issues and concerns.

B.

WHAT TO KNOW Have the class answer the What to Know questions on page 227 of the Arts Grade 10 Learner’s Materials: Installation Art 1. What are the distinct characteristics of installation art? 2. Why is it called “installation”? 3. In general, what do installation artists express in their works? Cite 2 examples from the Learner’s Material. 4. Aside from the traditional mediums and materials, what new elements can installation artists incorporate in their works? 5. What are some unique ways that the viewer can get to experience a piece of installation art? Performance Art 1. What are different names for performance art? 2. How do these point to the distinct qualities of this form of art? 3. In what decade did this art form emerge? 4. As distinct from traditional art forms, what or who serves as the medium in performance art? Explain briefly.

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5. Give examples of places where performance art takes place.

C.

WHAT TO PROCESS Have the class do the “What to Process” activities on pages 227 to 228 of the Arts Grade 10 Learner’s Materials. Divide the class into four groups. Groups A and B will create an installation artwork. Groups C and D will present performance art. Groups A and B: Installation Art Give the group members the following instructions: 1. The group members will brainstorm on the concept of an installation work to be constructed within the school grounds. 2. As a group, gather creative and innovative materials for the planned installation and bring these to your chosen work area. 3. Together, assemble the materials to construct your installation. 4. Give the work a thought-provoking title and label it accordingly. 5. All the groups will then take a tour of the installations created by the others. 6. Hold a discussion on how the finished works made the class members feel and think; and whether they consider these good examples of installation art or not. Groups C and D: Performance Art Give the group members the following instructions: 1. The group members will brainstorm on the concept of a performance art presentation. 2. As a group, agree on the place, equipment, costumes, and props (if any) for your presentation. 3. Assign roles/tasks to each group member, as performers, production crew, etc. 4. At the assigned time, the two groups will perform in front of the class. 5. Hold a discussion on how the performance art presentations made the class members feel and think; and whether they consider these good examples of performance art or not.

D.

WHAT TO UNDERSTAND

Have the class answer the What to Understand questions on page 228 of the Arts Grade 10 Learner’s Materials:

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1. Do installation art and performance art exemplify the qualities of modern art? If yes, in what ways do they do so? 2. Do art forms like these serve a purpose in today’s world? Explain your opinion. 3. Select two examples of installation art in the Learner’s Materials and describe your reaction to it—whether positive or negative, or a bit of both. 4. Do you think you would enjoy experiencing performance art? Why or why not? 5. Compare your former views on what art is with what you now see in installation art and performance art. Have your views changed? In what way? IV. GENERALIZATION Installation art is a modern art form that generally produces works large enough for the viewers to interact with (e.g., walk through, touch objects, feel textures, hear sounds, see lights and motion, etc.). It can be located indoors or outdoors, and makes unique and innovative use of everyday objects and materials. Performance art is a form in which the actions of a person or group of persons in a particular place and at a particular time constitute the work. This may take place in a public or private place, indoors or outdoors. It may last a few minutes or several hours. The production may be very bare or very lavish. Both of these modern art forms seek to capture the viewers’/audience’s attention, make a statement, convey a message in unconventional, sometimes humorous, occasionally shocking ways.

V.

SUMMATIVE TEST Use the following quiz items to assess the students’ grasp of the topics discussed: 1. 2. 3. 4.

Describe the distinctive characteristics of installation art. Describe the distinctive characteristics of performance art. Aside from the artistic aspect, what other purposes can such art forms be used for? Explain why both these art forms reflect the spirit of the modern era.

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Quarter I - Session 8 CULMINATING ACTIVITY FOR QUARTER I: “AN EXHIBIT OF MODERN ART”

This last session for the Quarter will be devoted to having the students stage “An Exhibit of Modern Art” presenting the following categories: 1. 2. 3. 4. 5.

Impressionism Expressionism Abstractionism, Pop art, Op art Installation art Performance art

The students will be assigned to select from among their own works, as well as source photos, magazine or calendar cutouts, Internet images, etc. of at least 2 to 3 representative artworks each for the above categories. Each artwork will be accompanied by a card briefly describing the work and the historical and cultural context of the category it belongs to:

Title (if known) __________________________________________ Artist (if known) __________________________________________ Artistic style and medium used ______________________________ Year or period of the work’s creation ________________________ Prevailing historical events at that time _______________________ _______________________________________________________

Prevailing cultural and social environment at that time ___________ _______________________________________________________

Have the students invite the school Administration, other faculty members, and their schoolmates to visit the exhibit. They should be prepared to explain the works and how these present the characteristics of different movements and styles of modern art. 115

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Critique of the Exhibit As a form of self-evaluation, have the students rate the culminating exhibit using the format below:

“An Exhibit on Modern Art” Evaluation Form

Criteria

Very Good

Good

Fair

Poor

Selection of artworks to exhibit (theme and message) Completeness of exhibit Presentation (display, mounting, and labelling of works) Assignment of tasks Cooperation among students Response of exhibit visitors

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Quarter II: TECHNOLOGY-BASED ART

CONTENT STANDARDS The learner demonstrates understanding of… 1. new technologies that allow new expressions in the arts using art elements and processes. PERFORMANCE STANDARDS The learner… 1. creates a tech-based artwork (video clips and printed media such as posters, menus, brochures, etc.) relating to a selected topic from the different learning areas using available technologies, e.g., food and fashion. LEARNING COMPETENCIES The learner… 1. identifies art elements in the technology-based production arts. 2. identifies distinct characteristics of arts during the 21st century in terms of: - production - functionality / range of audience reach. 3. identifies artworks produced by technology from other countries and their adaptation by Philippine artists. 4. realizes that technology is an effective and vibrant tool for empowering a person to express his/her ideas, goals, and advocacies, which elicits immediate action. 5. determines the role or function of artworks by evaluating their utilization and combination of art elements and principles. 6. uses artworks to derive the traditions/history of a community (e.g., landscapes, images of people at work and play, portrait studies, etc.). 7. compares the characteristics of artworks in the 21st century. 8. creates artworks that can be locally assembled with local materials, guided by 21st century techniques. 9. describes the influence of technology in the 21st century on the evolution of various forms of art. 10. applies different media techniques and processes to communicate ideas, experiences, and stories showing the characteristics of 21st century art (e.g., the use of graphic software like Photoshop, InDesign, etc.). 11. evaluates works of art in terms of artistic concepts and ideas using criteria appropriate for the style or form. 12. mounts an exhibit of completed technology-based artworks. From the Department of Education curriculum for ARTS Grade 10 (2014)

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ARTS Teacher’s Guide

Quarter II – Sessions 1 and 2 COMPUTER / DIGITAL ART: COMPUTER-GENERATED ARTWORKS

I.

II.

SUBJECT MATTER A.

Topic:

Computer / Digital Arts  definition and description of computer/digital arts  examples of computer-generated artworks by foreign and Philippine artists

B.

Materials:

Samples of computer-generated artworks in everyday life (e.g., posters, book/magazine covers, brochures, advertisements, etc.)

C.

Reference:

Arts Grade 10 Learner’s Materials Pages 232-239

PRE-ASSESSMENT [Session 1] Conduct the following survey to assess what the students know or have experienced concerning computer / digital arts: 1. 2. 3.

4. 5. 6. 7. 8.

What forms of art are you familiar with? (e.g., painting, sketching, sculpture, silk-screen) Have you heard of computer art? If yes, can you give some examples? [Showing the sample posters, book/magazine covers, etc.] Would you be able to identify these samples as traditional art or computer art? Explain how. Can you give a brief definition of what computer art is? Do you have any experience with using the computer? If yes, what device(s) have you used? What computer software do you use? For what purposes do you use these? Have you ever tried creating art with a computer? If so, what did you create and how did you create it?

III. ORIENTATION ON QUARTER II CULMINATING EXHIBIT General instructions: 1. Explain to the students that the culminating activity for Quarter II will be an Exhibit of Technology-Based Arts. 118

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Quarter II: Technology-based Art

2.

3.

Brief them that the various artworks that they will create in all the sessions of Quarter II will be labelled for proper curating and will be turned over to you for safekeeping, to be retrieved for mounting in the final exhibit. Explain that, due to time constraints with just eight class sessions for Art in one quarter, they must be prepared to complete the artworks and/or do other required tasks for the exhibit outside of class hours.

[Note to the teacher: If time is too limited, the culminating exhibits for BOTH Quarters II and III can be presented AT THE END OF QUARTER III instead – since the forms of art presented in the two quarters are related.]

IV. ACTIVITIES A. PRESENTATION OF THE TOPIC 1. Have the class turn to pages 232-236 of the Arts Grade 10 Learner’s Materials, and look over the examples of digital art presented. 2. Ask them what their general impression of these artworks is, and have them explain their opinions. 3. Ask them what common characteristic(s) they notice in these works, and to point out these characteristics to support their observation.

B. WHAT TO KNOW Have the class answer the What to Know questions on page 236 of the Arts Grade 10 Learner’s Materials: 1. 2. 3. 4.

Briefly describe how technology made—and continues to make— digital art possible. Was digital art readily accepted and recognized as “true art” when it emerged in the 1960s? Why or why not? What devices can now be used to create digital art? Do you own one such device? Name one or two computer programs that can enable you to create an original illustration from scratch.

C. WHAT TO PROCESS [Session 2] Have the students do the following What to Process activity on page 237 of the Arts Grade 10 Learner’s Materials.

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ARTS Teacher’s Guide

Digital Image Creation 1.

If you have access to a computer drawing program, such as Adobe Illustrator or its less complex counterparts, create an original artwork that will be incorporated into a group project for the culminating exhibit for Quarter II.

2.

If a drawing program is not available, capture an image instead using a digital camera, a DSLR camera, a tablet, or an android/mobile phone.

3.

Store the finished illustration or image in a device that contains an image editing program, similar to these:  Gimp (GNU Image Manipulation Program)  Paint.net  Inkscape  Xara Extreme  Artweaver  Draw Plus  Pencil  Picasa  Paint Star  Smooth Draw  Spray  Karbon  Adobe Photoshop Express  Corel PaintShop Pro X5

4. The stored illustration or image will be manipulated using any of these editing programs, in a later session on Computer Generated Images (see page 240 of the Arts Grade 10 Learner’s Materials).

D.

WHAT TO UNDERSTAND Have the class answer the What to Understand questions on pages 237238 of the Arts Grade 10 Learner’s Materials: 1. Research online for the works of any two of the following digital artists who were at the forefront of this field in the early 1960s: James Faure Walker Geroge Grie Manfred Mohr Olga Kisseleva Ronald Davis John Landsdown Joseph Nechvatal Perry Welman Matthias Broegel Jean-Pierre Hebert

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Quarter II: Technology-based Art

Select one artwork each by the artists that you have chosen. Give the basic details of each (title of work, name of artist, technique used, year created). Briefly explain how the following principles of art are incorporated or expressed in these particular works:  Rhythm, Movement  Balance  Emphasis  Harmony, Unity, and Variety  Proportion 2. Then write a brief personal reaction that you have to the works you chose—whether positive or negative. Explain your opinion. 3. Was there a difference in how Filipino artists first ventured into the world of digital art? If yes, explain briefly. 4. Research online for three Filipino artists using digital techniques for their works. Compare and contrast their works with the examples of digital art by foreign artists in the Arts Grade 10 Learner’s Materials. 5. As a young citizen of the Philippines and of the world, how do you feel about the pervasiveness of digital technology in a) art (digital illustration, digital photography, digital videos)? b) media? c) entertainment / gaming? d) education? e) communication? 6. How do you personally make use of digital technology in each of the above areas? 7. Specifically in the area of art (digital illustration, photography, videos), what “artworks” are you able to create with the help of the available technology? Cite at least 5 examples. 8. Do you find yourself exposed to or involved in using digital devices and applications in most aspects of your life? What are the benefits? What are the risks or dangers?

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ARTS Teacher’s Guide

E. WHAT TO PERFORM Preparing for the Culminating “Exhibit of Technology-Based Art” Having presented the concept and techniques of computer/digital art, guide the students in planning how to prepare their artworks for the culminating exhibit at the end of the quarter. 1. All the finished artworks will have to be labelled with original titles, the student’s name or the group members’ names, the date, and the technique used. 2. As the Arts teacher, you will store the finished artworks for inclusion in the exhibit at the end of the quarter.

V.

GENERALIZATION Computer/digital arts make use of electronic and mechanical devices, rather than the artist’s own hand, to produce the desired images and effects. Thus, these are definitely a technology-based art form. As a result, there is a strong scientific or mathematical look and feel to the creations of many digital artists—with geometric forms and repeating patterns appearing frequently. While such works were not initially viewed as a true art form, they have since been widely accepted and have become a major art genre on their own.

VI.

SUMMATIVE TEST Use the following quiz items to assess the students’ grasp of the topics discussed: 1. What is computer or digital art? 2. When did it start to develop? 3. From what non-artistic profession did the early computer “artists” come from? 4. Name three distinct characteristics of computer/digital art? 5. What was the initial reaction of the public to this new type of art? 6. What were some signs of the eventual acceptance of computer art as true art? 7. Did this form of modern art reach the Philippines? 8. What is the status of computer art in the modern art scene today?

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Quarter II: Technology-based Art

Quarter II – Sessions 3 and 4 MOBILE PHONE ART / COMPUTER-GENERATED IMAGES

I.

SUBJECT MATTER A.

Topic:

Mobile Phone Art / Computer-generated Images  Creating art using image manipulation programs on mobile or android phones  Creating art using image capture and manipulation programs on computers, laptops, and tablets

B.

Materials:

Sample images (teacher-made and/or student-made) created using mobile phones and/or computers, laptops, or tablets Any available android phones, laptops, or tablets

C.

II.

Reference:

Arts Grade 10 Learner’s Materials Pages 239-246

PRE-ASSESSMENT [Session 3] Conduct the following survey to assess what the students know or have experienced concerning mobile phone art and computer-generated images: 1. 2. 3. 4. 5.

Do you own a personal mobile phone or android phone? If so, does it have a camera for capturing images? Have you experienced taking photos with your mobile phone? If so, what types of photos do you usually take? Have you tried to modify those images in some way? What program(s) or application(s) did you use? Have you created original artworks from scratch on a computer, laptop, or tablet? If so, what kind of artworks were these? What program(s) did you use to create them?

III. ACTIVITIES A. PRESENTATION OF THE TOPIC 1. 2.

Have the class turn to pages 241-243 of the Arts Grade 10 Learner’s Materials, and look over the examples of cellular phone art presented. Ask them if any of these images and their modified versions are similar to ones they have made themselves. 123

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ARTS Teacher’s Guide

3.

4. 5.

Ask what other image modifications and effects, aside from those shown, they have done themselves. Have them relate their experiences using different applications for these. Have them also go over the section on computer-generated images, page 244 in the Arts Grade 10 Learner’s Materials. Ask them what computer programs are used to create such images.

B. WHAT TO KNOW Have the class answer the What to Know questions on pages 244-245 of the Arts Grade 10 Learner’s Materials: 1. 2. 3. 4. 5. 6. 7. 8. 9.

What is mobile phone art? What technology has made this possible? What is the raw material or starting point for creating an artwork on a mobile phone? How is this initial material then transformed into an original piece of art? Name some programs and/or applications that can be used to create art on a mobile phone? Aside from using mobile phone software, what is another means of creating art from scratch using computer technology? What is the raw material or starting point for creating an artwork on a computer? How is this initial material then transformed into an original piece of art using a computer? Name some computer programs that are designed for this purpose?

C. WHAT TO PROCESS [Session 4] Creating Mobile Art / Computer-generated Art Have the students do the following What to Process activity on page 244 of the Arts Grade 10 Learner’s Materials. 1.

Depending on the devices available to you, you may either: a. Capture an image using your mobile phone camera b. Create an image from scratch using a drawing/illustration program on a computer, laptop, or tablet

2.

Save your captured image or finished illustration in preparation for transforming it into an example of mobile phone art or computergenerated art.

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Quarter II: Technology-based Art

[Note to the teacher: Recommend to the students to refer to any applicable modules of Technology Livelihood Education (TLE) for detailed instructions on what programs to use, and how to use them.] 3.

Using any of the applications installed in your available device(s), experiment with different effects and features to modify your saved image or illustration. You may try some of the following effects, as well as others offered by the application(s) you are using:  re-size  crop  skew / warp  rotate  flip  adjust brightness  adjust sharpness  change colors  gray scale  sepia tone  apply a texture  superimpose text, trying different fonts  apply frames, borders, or banners  edit out an element that you do not want to appear  add an element that is not in the original image

4. Save the most unique, striking, or remarkable modified images to be printed out later for inclusion in the culminating Exhibit on Technology-based Art.

D.

WHAT TO UNDERSTAND Have the class answer the What to Understand questions on page 246 of the Arts Grade 10 Learner’s Materials: 1. Mobile phone art is a technology-based art form. Support this statement with your own brief explanation. 2. Do you consider the products of such mobile phone applications as true art? Why or why not? 3. Did you feel like an artist while capturing and modifying your mobile phone image? Describe the experience. 4. In the case of rendering and modifying an original computer illustration, do you consider this as true art? Why or why not?

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ARTS Teacher’s Guide

5. Describe your experience, if you used this technique to create a computer-generated artwork.

E.

WHAT TO PERFORM Preparing for the Culminating “Exhibit of Technology-Based Art” Having presented the concept and techniques of mobile phone art and computer-generated images, guide the students in planning how to prepare their artworks for the culminating exhibit at the end of the quarter. 1. All the finished artworks will have to be labelled with original titles, the student’s name or the group members’ names, the date, and the technique used. 2. As the Arts teacher, you will store the finished artworks for inclusion in the exhibit at the end of the quarter.

IV. GENERALIZATION Mobile phone art is a form of modern art that emerged due to the available technology on mobile phones with built-in cameras that could capture and store images. This further evolved dramatically with the development of android phones that can now use image editing applications to modify and manipulate the captured images right on the phone unit itself. Meanwhile, computer-generated images are those that are created from scratch using drawing or illustration software on desktop computers, laptops, and tablets. These can then be modified and manipulated as well, using image editing programs for these devices.

V.

SUMMATIVE TEST Use the following quiz items to assess the students’ grasp of the topics discussed: 1. 2. 3. 4. 5. 6. 7.

What is mobile phone art? How did technology allow this form of art to develop? What type of device(s) can be used to create mobile phone art? Name three applications that can modify and manipulate images into a piece of art. Who can create this new type of art? What are computer-generated images? How do these differ from mobile phone art?

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Quarter II: Technology-based Art

8. 9. 10.

What types of device(s) can be used to create computer-generated images? Name two programs that allow the user to render an illustration from scratch. How can these illustrations be modified to create works of computergenerated art?

Quarter II – Sessions 5 and 6 DIGITAL PHOTOGRAPHY: DSLR and Point-and-Shoot

I.

SUBJECT MATTER A.

Topic:

Digital Photography  DSLR photography  Point-and-shoot photography

B.

Materials:

DSLR camera (if available) Point-and-shoot digital camera (if available) For pinhole camera: shoebox or similar lidded box, black paint if box is colored or printed, small piece of sheet metal, large needle, X-acto knife, sandpaper, light-sensitive photo paper, tape (1 set of these materials for each group to be formed)

C.

II.

Reference:

Arts Grade 10 Learner’s Materials Pages 246-250

PRE-ASSESSMENT [Session 5] Conduct the following survey to assess what the students know or have experienced concerning digital photography: 1. How do you take pictures for your own personal use and enjoyment? 2. What device(s) do you use – your mobile phone, digital camera, or tablet? 3. If you use a digital camera, is it the type that does all the image adjustments for you automatically? 4. Do you know what a DSLR camera is? 5. Have you ever tried using such a camera? 6. If yes, how did it differ from using a regular digital camera?

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ARTS Teacher’s Guide

7. Have you taken photographs for purposes other than for just personal use and enjoyment? If so, what were these for?

III. ACTIVITIES A. PRESENTATION OF THE TOPIC 1.

2. 3. 4.

Have the class turn to pages 246-248 of the Arts Grade 10 Learner’s Materials, and read the explanation of the very simple technology of early photography. Announce that they will be doing a simulation of that early form of camera to better understand the principles behind it. Have them then read the description of the two basic types of digital photography available today: point-and-shoot and DSLR. If available, show to the class actual examples of a digital camera and a DSLR camera. Discuss the differences and similarities of the two.

B. WHAT TO KNOW Have the class answer the What to Know questions on page 248 of the Arts Grade 10 Learner’s Materials: 1. 2. 3. 4. 5. 6. 7.

What is digital photography? Briefly describe the basic technology behind the earliest cameras. In place of the previous light-sensitive film, how are today’s digital images captured and stored? What are the two main types of digital photography in use today? Why is one of them called point-and-shoot photography? What does the acronym DSLR stand for? Briefly cite two or three differences between these forms of digital photography.

C. WHAT TO PROCESS Have the students do the following What to Process activities on pages 248250 of the Arts Grade 10 Learner’s Materials. Creating a “Pinhole Camera” 1. 2.

Divide the class into groups of 5 to 6 students each. Have them prepare the materials listed for this project.

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Quarter II: Technology-based Art

Note: To save time, the boxes should be painted completely black beforehand. 3.

4.

Instruct them to follow the step-by-step procedure given in the Arts Grade 10 Learner’s Materials. [Reference: http://www.instructables.com/id/How-To-Make-A-Pinhole-Camera/] Once the pinhole cameras are ready, have each group “take a photo” or two using these devices they have created.

Taking Point-and-Shoot or DSLR Photos [Session 6] 1.

2.

3.

4.

Using any cameras available to the class members, have them follow the instructions given in the Arts Grade 10 Learner’s Materials for taking either point-and-shoot or DSLR photos. The exposure to photography in Quarter II is more for the students to become familiar with the process of using the cameras, and understanding the underlying technology. There will be separate group projects in Quarter III allowing the students to take photos with an assigned or chosen theme, as potential artworks for the culminating exhibit on Technology-based Arts. For this session of Quarter II, let the students experiment and discuss among themselves about the different photography techniques they are experiencing.

D. WHAT TO UNDERSTAND Have the class answer the What to Understand questions on page 250 of the Arts Grade 10 Learner’s Materials: 1. 2. 3. 4.

5.

What was the experience like creating your own pinhole camera and being able to capture images using it? What do you see as the advantages of digital photography as compared to the earlier film-type photography? What do you think of the view that film photography is more “artistic” than digital photography? Support your opinion. If you have experienced both regular digital photography and DSLR photography, which one did you find more useful to you? More doable? More interesting? Explain your answers. What do you think of the way digital technology has made quality photography accessible to everyone – including young people like you?

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ARTS Teacher’s Guide

E. WHAT TO PERFORM Preparing for the Culminating “Exhibit of Technology-Based Arts” Having presented the concept and techniques of digital photography, guide the students in planning how to prepare their artworks for the culminating exhibit at the end of the quarter. 1.

All the finished artworks will have to be labelled with original titles, the student’s name or the group members’ names, the date, and the technique used. [Note: For Sessions 5 and 6, the artworks to be prepared will be the photos taken using the “pinhole cameras” made by the students. In the final exhibit, these will make an interesting contrast to the digital photos they will take in Quarter III.]

2. As the Arts teacher, you will store the finished artworks for inclusion in the exhibit at the end of the quarter.

IV. GENERALIZATION Digital photography is a technology-based art that evolved from the earlier type of photography that made use of the action of light on light-sensitive film as manipulated by a user of a camera. In contrast, digital photography makes use of devices that automatically set and adjust the needed elements (shutter opening, shutter speed, flash lighting, zoom in/out, etc.) to ensure a good quality image. It then stores these images on a storage device built into the camera for future retrieval and modification, if desired. The two basic types of digital photography are point-and-shoot and DSLR. Point-and-shoot means that the camera pre-sets the needed elements so that the user can literally just click away. The DSLR type enables the photographer to still make his/her own judgments on how to set the device’s features to achieve the desired image results. V.

SUMMATIVE TEST Use the following quiz items to assess the students’ grasp of the topics discussed: 1. What is digital photography? 2. How does it differ from the traditional film-type of photography? 3. Briefly describe the elements of a pinhole camera.

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Quarter II: Technology-based Art

4. 5. 6. 7. 8. 9. 10.

What was the basic technology that allowed such a simple device to take photos? Cite one or two technological developments that made digital photography possible. What are the two basic types of digital photography? Briefly describe point-and-shoot photography. Briefly describe DSLR photography? What elements of photo-taking are pre-set by a point-and-shoot camera? Without film, how do digital cameras capture and store images?

Quarter II – Session 7 VIDEO GAMES / DIGITAL PAINTING / IMAGING VIDEOS

I.

II.

SUBJECT MATTER A.

Topic:

Video Games / Digital Painting / Imaging Videos

B.

Materials:

Computer, laptop, or tablet (if available) Software installed in the above devices for creating video games and/or digital painting

C.

Reference:

Arts Grade 10 Learner’s Materials Pages 251-254

PRE-ASSESSMENT Conduct the following survey to assess what the students know or have experienced concerning video games / digital painting / imaging videos: 1. Do you play video games? 2. What device(s) do you play them on? Your mobile phone? A tablet? A laptop? A desktop computer? 3. What particular games do you like to play? 4. What features make you choose a particular game over others? 5. Is the visual appearance of the game important to you? Why or why not? 6. Have you experienced creating your own simple video games? 7. Have you taken videos of yourself and your friends/family? If so, what device do you use for this? 8. Do you use any video editing software? If so, what kind? 9. Have your tried digital painting? If so, what software do you use? 10. Briefly explain what imaging videos are? In what areas of modern life are these used? Have you experienced any of these yourself? 131

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ARTS Teacher’s Guide

III. ACTIVITIES A. PRESENTATION OF THE TOPIC 1.

2.

Have the class turn to pages 251-252 of the Arts Grade 10 Learner’s Materials, and read the sections on: video games, digital painting, and imaging videos. Lead the students in a short discussion on how these different forms of digital imaging are used in daily life.

B. WHAT TO KNOW Have the class answer the What to Know questions on page 253 of the Arts Grade 10 Learner’s Materials: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

How has computer technology contributed to the development of video games? Name some of the most popular types of video games today. On what kinds of devices can such games be played? Can a young person like you create your own video game? If yes, how? What is digital painting? Briefly describe the two different types of digital painting presented. Briefly explain today’s video technology. How do you use video technology personally? For school purposes? How is it used in modern life? What valuable purposes do “imaging videos” serve in the fields of medicine and science?

C. WHAT TO PROCESS Have the students do the following What to Process activities on page 253 of the Arts Grade 10 Learner’s Materials. Group Projects: Video Games / Digital Painting 1.

Divide the class into groups of 5-6 students each.

2.

Assign half of the groups to create their own video games (using any simple software that they have available or can download from the internet for free); and the other half of the groups to create works of digital painting.

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Quarter II: Technology-based Art

3.

Instruct them to follow the procedure given in the Learner’s Materials. (Note: Due to time constraints, they will need to work on these group projects outside of class hours.)

4.

They will then save their finished video games or digital paintings in a storage device that you will hold for safekeeping until the culminating exhibit on Technology-based Arts.

D. WHAT TO UNDERSTAND Have the class answer the What to Understand questions on pages 253-254 of the Arts Grade 10 Learner’s Materials: 1. 2. 3. 4. 5.

Compare your experience in creating your own simple video game with that of your classmates creating a digital painting; or vice-versa. Do you think that video games can be considered a form of modern art? Why or why not? Is digital painting as “artistic” as the traditional modes of painting? Support your opinion. Is there a value to imaging videos apart from the entertainment or even documentation purposes of regular videos? Give some examples. Discuss how this shows that technology can serve aesthetic and practical—even vital—purposes in today’s world.

E. WHAT TO PERFORM Preparing for the Culminating “Exhibit of Technology-Based Arts” Having presented the concept and techniques of creating video games and doing digital painting, guide the students in planning how to prepare their artworks for the culminating exhibit at the end of the quarter. 1.

All the finished artworks will have to be labelled with original titles, the student’s name or the group members’ names, the date, and the technique used. [Note: For the video games and digital paintings created in Session 7, some form of device with a display capability will need to be prepared prior to the culminating exhibit. This could be a desktop computer or a laptop/tablet connected to a large monitor, if available within the school or loaned from a student’s family.]

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ARTS Teacher’s Guide

2. As the Arts teacher, you will store the finished artworks for inclusion in the exhibit at the end of the quarter.

IV. GENERALIZATION Video games, digital painting, and video imaging are advanced applications of the digital technology available today for a wide range of purposes. Video games are not only played and enjoyed by countless gamers all over the world, they can also be developed by amateurs on a personal device using available software. They now also involve extremely complex and realistic graphics and animation techniques that may be considered a form of modern art. Digital painting makes use of virtual tools on a computer to simulate the canvas, brushes, paints, etc. used in traditional painting. The result is a work of modern art created by “robot devices” controlled by a computer, or else entirely virtual on an electronic device. Video imaging is the application of video technology to serve not only entertainment purposes, but even scientific, educational, and medical needs. We see this in the form of CT scans, magnetic resonance imaging (MRI), and even the ultrasound used to diagnose diseases and injuries – and to monitor a baby’s development in the womb. V.

SUMMATIVE TEST Use the following quiz items to assess the students’ grasp of the topics discussed: 1. 2. 3. 4. 5. 6.

What are some highly popular video games today? How are such games a modern form of art? Name one or two programs for creating your own video games. What tools of traditional painting exist virtually in digital painting? Is there a form of digital painting that still makes use of actual paints and actual surfaces to apply the paints to? Describe it briefly. Name two or three practical purposes served by imaging videos.

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Quarter II: Technology-based Art

Quarter II – Session 8 CULMINATING ACTIVITY: EXHIBIT OF TECHNOLOGY-BASED ARTS

The last session for Quarter II will be devoted to staging “An Exhibit of Technology-based Arts” presenting the following categories: 1. 2. 3. 4. 5.

Mobile Phone Art Computer-generated Images Digital Photography (Pinhole Camera, Point-and-Shoot, DSLR) Video Games Digital Painting

The students will select from among their own works created within Quarter II, as well as source photos, magazine or calendar cutouts, Internet images, etc. of at least two to three representative artworks each for the above categories.

Curating the Exhibit Each artwork will be accompanied by a card briefly describing the work as follows:

For student-made artworks: Title

_________________________________________________

Artist/s

_________________________________________________

Artistic style and medium used

_______________________________

Date of creation ___________________________________________

For reproductions or images of known artworks: Title

_________________________________________________

Artist ____________________________________________________ Artistic style and medium used

_______________________________

Year or period of creation _____________________________________

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ARTS Teacher’s Guide

Have the class members invite the school Administration, other faculty members, and their schoolmates to visit the exhibit. Help them prepare to explain the works and how these present the characteristics of different forms of technology-based art.

Critiquing the Exhibit As a form of self-evaluation, guide the students in rating the culminating exhibit using the format below:

“An Exhibit of Technology-based Arts” Evaluation Form

Criteria

Very Good

Good

Fair

Poor

Selection of artworks to exhibit (theme and message) Completeness of exhibit Presentation (display, mounting, and labelling of works) Assignment of tasks Cooperation among students Response of exhibit visitors

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Quarter III: MEDIA-BASED ARTS AND DESIGN IN THE PHILIPPINES

CONTENT STANDARDS The learner demonstrates understanding of… 1. art elements and processes by synthesizing and applying prior knowledge and skills. 2. new technologies that allow new expressions in the arts.

PERFORMANCE STANDARDS The learner… 1. creates artworks using available media and natural resources on local topics, issues, and concerns such as environmental advocacies, ecotourism, and economic and livelihood projects.

LEARNING COMPETENCIES The learner… 1. identifies art elements in the various media-based arts in the Philippines. 2. identifies representative artists as well as distinct characteristics of media-based arts and design in the Philippines. 3. realizes that Filipino ingenuity is distinct, exceptional, and on a par with global standards. 4. determines the role or function of artworks by evaluating their utilization and combination of art elements and principles. 5. uses artworks to derive the traditions/history of a community. 6. creates artworks that can be assembled with local materials. 7. describes the characteristics of media-based arts and deign in the Philippines. 8. applies different media techniques and processes to communicate ideas, experiences, sand stories (the use of software to enhance/animate images like Flash, Movie Maker, Dreamweaver, etc.). 9. evaluates works of art in terms of artistic concepts and ideas using criteria appropriate for the style or form of media-based arts and design. 10. mounts a media-based exhibit of completed artworks. From the Department of Education curriculum for ARTS Grade 10 (2014)

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ARTS Teacher’s Guide

Quarter III – Sessions 1 and 2 PHOTOGRAPHY

I.

SUBJECT MATTER A.

Topic:

Media-based Arts: Photography  definition/description of photography  the photographer as artist  photography as communication  noteworthy Philippine photographers

B.

Materials:

Sample camera (any kind available to the teacher) Examples of different kinds of photographs by Filipino and foreign photographers (colored and black and white; can be from magazines, calendars, etc.) For ‘What to Process’ activity: Any device available to the students that can take photographs (digital camera, mobile phone, android phone, tablet, etc.)

C.

II.

Reference:

Arts Grade 10 Learner’s Materials Pages 259-265

ORIENTATION ON QUARTER III CULMINATING EXHIBIT General instructions: 1. Explain to the students that the culminating activity for Quarter III will be an Exhibit of Media-based Arts and Design. 2. Brief them that the various artworks that they will create in all the sessions of Quarter III will be labelled for proper curating and will be turned over to you for safekeeping, to be retrieved for mounting in the final exhibit. 3. Explain that, due to time constraints with just eight class sessions for Art in one quarter, they must be prepared to complete the artworks and/or do other required tasks for the exhibit outside of class hours. 4. Special issue to consider: Given the accessibility and cost of many of the digital devices, programs, and applications needed, the art pieces to be exhibited will be a combination of student-made works and examples of various commercially- and publicly-available media using digital arts. [Note to the teacher: If time is too limited, the culminating exhibits for BOTH Quarters II and III can be presented AT THE END OF QUARTER III instead – since the forms of art presented in the two quarters are related.]

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Quarter III: Media-based Arts and Design

III. PRE-ASSESSMENT [Session 1] Conduct the following survey to assess what the students know or have experienced concerning photography: 1.

2.

3. 4. 5.

Recall your experience with making and using a pinhole camera in Quarter II. What did you learn about the process of photography through that experience? Since then, have you tried using other kinds of photo-taking devices (your mobile/android phone, tablet, digital ‘point and shoot’ camera, DSLR camera)? What observations do you have about using that particular device or more than one of them? Do you know of any famous Filipino photographers? If yes, name them. How did you learn about these photographers?

IV. ACTIVITIES A.

PRESENTATION OF THE TOPIC (Session 1) 1. Present to the class the sample photographs by Filipino and foreign photographers. Pass them around the classroom, so the students can examine these more closely. 2. Have the class turn to pages 259-260 of the Arts Grade 10 Learner’s Materials, and ask them to read silently the sections on the photographer as artist and on photography as communication. 3. Call on some students to point out how the sample photographs exemplify some of the points discussed in these sections: a) the artistic aspects of a photograph – giving specific details b) the communication aspects of a photograph – giving specific details 4. Review briefly with the class the elements and principles of art that they have studied since the earlier grades: a) elements of art – line, shape/form, space, color, value, texture b) principles of art – balance, proportion, rhythm, emphasis, harmony 5. Call on some students to comment on how they see these elements and principles in the sample photographs.

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ARTS Teacher’s Guide

6. Have the class turn to pages 260-263 of the Arts Grade 10 Learner’s Materials, and ask them to read silently the section on noteworthy Philippine photographers. 7. Ask them to comment on the photographs by George Tapan and John K. Chua presented in the Learner’s Materials—the subjects, the style, what appeals to them in the photographs.

B.

WHAT TO KNOW Have the class answer the What to Know questions on page 264 of the Arts Grade 10 Learner’s Materials: 1. What two Greek words are the origins of the term “photography”? What makes them fitting for this media-based art form? 2. How does technology contribute to the development of an art like photography? 3. Why is photography truly a “modern” art form? 4. What special talents and skills does a photographer have that make him or her an artist? 5. What qualities make photography such a powerful communication tool? 6. Name some noteworthy Filipino photographers presented above, plus others you may have researched on. Cite a distinctive achievement of each. 7. What type of subjects seems to be among their favorites to photograph? 8. Looking at the sample photographs shown, explain how the principles of art (rhythm/movement, balance, emphasis, proportion, harmony, unity, variety) are made use of by the photographer as an artist.

C.

WHAT TO PROCESS [Session 2] Have the class do the What to Process activities on page 264 of the Arts Grade 10 Learner’s Materials: Photography Group Project: “Images with a Message” 1. Prior to Session 2, ask the students to bring to class any available device for taking photographs (point-and-shoot camera, DSLR camera, mobile phone, android phone, tablet). Those who do not have their own device may share with other classmates.

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Quarter III: Media-based Arts and Design

2. Divide the class into groups of 6 to 8 students. Each group will be assigned a theme such as: a) People/Personalities b) Our School c) Nature d) Insights e) Humor, etc. (Note: The groups may also think of their own themes, if they wish.) 3. Together with their respective groups, the students will move around the classroom and school grounds on their own time, taking photographs according to their assigned/chosen theme. They will store the best ones in their devices for group evaluation. 4. As a group, they will then select one photograph taken by each group member that best captures the theme. If there are 8 group members, there will be 8 selected photos. 5. Next, they will plan with their group how and where to have these selected photos printed on letter-size paper (8½” x 11”). Then, these will be turned over to you for safekeeping until they will be presented in the culminating exhibit.

D.

WHAT TO UNDERSTAND Have the class do the following What to Understand activity on page 265 of the Arts Grade 10 Learner’s Materials: “What’s In a Photo?” 1. Cut out three photographs from a magazine, calendar, poster, or brochure—each expressing one of the following: a) a commercial or business message b) a social or political statement c) artistic expression. 2. Label each of your photographs with a creative title, expressing the particular purpose you think it has. 3. Bring them to class and be ready to explain the purpose of each. 4. Also be ready to discuss what role you believe photography plays in modern life by carrying out such purposes.

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ARTS Teacher’s Guide

E.

WHAT TO PERFORM Preparing for the Quarter III “Exhibit on Media-Based Arts and Design” Guide the students in preparing their photographs for the culminating exhibit at the end of the quarter by labelling them with original titles, their group members’ names, the date, and the device used.

V.

GENERALIZATION Photography is literally “light writing” from the Green words photos (meaning light) and graphos (meaning writing). Images are recorded through light action on light-sensitive materials—previously celluloid film, but today on digital storage devices. Through amazing developments in technology, photography has been able to incorporate a vast array of special techniques and effects chosen and manipulated by the photographer—making him or her an artist, in that sense. And making the resulting photographs a modern form of art as well.

VI. SUMMATIVE TEST Use the following quiz items to assess the students’ grasp of the topics discussed: 1. What two Greek words are the origins of the term “photography”? 2. Name three ways in which technology contributed to the development of photography. 3. How is a photographer also an artist? 4. In what ways is photography a form of communication? 5. Name the two well-known Filipino photographers presented in these sessions. 6. Name others you may have discovered through your research.

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Quarter III: Media-based Arts and Design

Quarter III – Sessions 3 and 4 FILM

I.

SUBJECT MATTER A.

Topic:

Media-based Arts: Film  film as a technology-driven art form  the collaborative art of filmmaking  characteristics of the film medium  the different film genres  noteworthy Philippine filmmakers

B.

Materials:

20 DVD jackets (or teacher-made flash cards) showing titles of popular films that the students would be familiar with, representing various genres of movies Sample Philippine film on DVD (preferably by one of the directors presented in the Learning Materials) Sample American or foreign film on DVD DVD player and television; or a laptop with a larger external monitor

C.

II.

Reference:

Arts Grade 10 Learner’s Materials Pages 265-273

PRE-ASSESSMENT [Session 1] Conduct the following survey to assess what the students know or have experienced concerning film: 1. 2. 3. 4. 5.

How often do you watch films? Do you watch more foreign films or more Filipino films? Do you go to a movie house or watch on DVD or via a downloaded film? What types of movies do you most enjoy watching, and why? Do you know any famous Filipino filmmakers? Name them and the titles of their films that you have watched. 6. Recall the short videos you created in Quarter II. How do you think that experience compares with the process involved in actual filmmaking?

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ARTS Teacher’s Guide

III. ACTIVITIES A.

PRESENTATION OF THE TOPIC (Session 3) 1. Have student-volunteers present to the class the original short videos they had made in Quarter II. They may use the laptop and monitor set up in the classroom for this lesson, if available. 2. Ask the other students to give their comments on the videos shown. 3. Have the class turn to pages 266-268 of the Arts Grade 10 Learner’s Materials. Ask volunteers to briefly explain how filmmaking is a technology-driven art—advancing from still photography to moving pictures. 4. Next, call on some students to explain how filmmaking is a collaborative art. Who are the different members of the film production team? What are their specific roles and responsibilities in creating a film? 5. Ask the students if they can imagine themselves in any of these roles in a film production? What role would this be and why? 6. Bring out the sample DVD jackets or teacher-made flash cards. Hold them up in random order for the class to see and to identify to what particular film genre each one belongs. 7. Have the class read through pages 269-271 of the Arts Grade 10 Learner’s Materials, presenting well-known Filipino filmmakers. Ask them if they have seen any films by these directors, and what their opinions of these films are and why.

B.

WHAT TO KNOW Have the class answer the What to Know questions on page 272 of the Arts Grade 10 Learner’s Materials: 1. 2.

Why is film making considered a true modern art form? Explain how the following technological advances contributed to the evolution of filmmaking: a) celluloid strip film b) lighter cameras c) sound d) color e) computer animation and special effects

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Quarter III: Media-based Arts and Design

3. 4. 5. 6. 7. 8. 9. 10.

C.

Explain why the film director is considered an artist. Describe the allied arts that have emerged as part of the film industry. Explain the film technique called “montage.” What are some of the popular film genres? Name recent movies that are examples of these different genres. Explain how film has served as a powerful communication medium from the 20th century until today. In the Philippine film industry, name at least three outstanding film directors. What do you notice about the topics or subjects of their films? Cite some distinctive achievements by the Filipino film directors presented.

WHAT TO PROCESS (Session 4) Have the class do the What to Process activity on page 272 of the Arts Grade 10 Learner’s Materials: Film Group Project: “Moving Selfies!” 1. Divide the class into groups of eight to 10 students each. 2. Have the groups arrange for access to at least one of any of the following devices with video capabilities: a) a mobile phone with video camera b) a tablet with video camera c) a digital video camera 3. Each group will choose a catchy tune of about two minutes in length. 4. On their own time outside of class hours, each group will create a series of “video selfies” of themselves with that tune as the background music. 5. Using a video editing program (as discussed in Quarter II), they will work together to synchronize the video segments with the beat and lyrics of their chosen song. 6. Each group will save the finished video and turn it over to you for safekeeping until it will be presented as part of the culminating exhibit.

D.

WHAT TO UNDERSTAND Have the class do the following What to Understand activity on page 273 of the Arts Grade 10 Learner’s Materials: 145

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ARTS Teacher’s Guide

“Film Viewing” 1. Set up a television and a DVD player in the classroom to show the following selected film excerpts on disc; or a laptop computer can be connected to a large monitor for viewing by the class: a) one Filipino film by a director discussed in the Learner’s Materials - 5-minute excerpt b) one American/foreign film - 5-minute excerpt (Note: If the foreign film is not in English, a version with English subtitles should be used.) 2. After both film viewings have been completed, lead the class in a discussion on the following about each excerpt: a) title b) director c) year d) lead characters and the actors who played them e) film genre f) specific scenes or techniques that show the art of filmmaking 3. Guide the class in comparing and contrasting the qualities they observed in the Filipino and the American/foreign films that make each one unique.

E. WHAT TO PERFORM Preparing for the Quarter III “Exhibit on Media-Based Arts and Design” Guide the students in preparing their short videos for the culminating exhibit at the end of the quarter by labelling them with original titles, their group members’ names, the date, and the film editing software used.

IV.

GENERALIZATION Filmmaking can truly be called a technology-driven art form since it was born out of the technological advances that took place in the late 1800s— transforming still photography into moving pictures or “films.” Until today, every new development in technology makes it possible for filmmakers to awe audiences with increasingly daring, challenging, and seemingly impossible techniques and effects.

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Quarter III: Media-based Arts and Design

Due to the complexity of creating a film, it is a collaborative art involving a large team of artists and technicians in the various allied fields of directing, acting, editing, production design, costume design, lighting, sound, special effects, animation, and more. The medium is also so rich and versatile that it has allowed for the development of an entire array of film genres to suit various purposes and viewers’ preferences. The Philippines has a number of highly talented and respected film directors. Among them are Lino Brocka, Ishmael Bernal, Mike de Leon, Laurice Guillen, Marilou Diaz-Abaya, Maryo J. delos Reyes, and Brillante Mendoza.

V.

SUMMATIVE TEST Use the following quiz items to assess the students’ grasp of the topics discussed: 1. Name five developments in technology that have made film or “motion pictures” possible. 2. What are the allied professions that form the collaborative team of a film? Name and briefly describe at least five of them. 3. What are some of the most popular film genres? 4. Who are two female directors who have made a name for themselves in the Philippine film industry? 5. Name at least three highly-acclaimed Filipino films.

Quarter III – Sessions 5 and 6 ANIMATION / COMICS ILLUSTRATION / DIGITAL PRINT MEDIA

I.

SUBJECT MATTER A.

Topic:

Animation / Comics Illustration / Digital Print Media  animation  print media in advertising  comics illustration  book design and illustration  digital books

B.

Materials:

DVD jackets or other visual aids representing any of the Major animated films involving Filipino animators

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ARTS Teacher’s Guide

(Toy Story, Up, The Incredibles, Monsters University, Cars, Planes, Finding Nemo, Brave, Shrek, Kung Fu Panda) Sample comic books (both foreign and Filipino) Sample comic strips from magazines and newspapers Sample books from any Philippine publisher, featuring cover design and illustration by Filipino artists C.

Reference:

Arts Grade 10 Learner’s Materials Pages 274-289

III. ACTIVITIES A.

PRESENTATION OF THE TOPIC (Session 5) 1. Overview of the different media-based arts: a) Display in the classroom the DVD jackets or other visual aids of the foreign animated films involving Filipino animators. b) Ask if the students have watched any of these films, and if they had ever imagined that Filipino artists were among those tapped to create the characters and visual components. c) Next, pass around among the students the sample comic books or comic strips for them to examine the different subjects, styles, etc. that these have. d) Display in the classroom the sample books from Philippine publishers. Allow the students to study the cover designs and to look at the inside illustrations. 2. Explain that these are all examples of media-based arts that have undergone tremendous advancements thanks to developments in computer technology. These have made it possible to create, store, and distribute digital arts in amazing new ways—which will be presented in these sessions. 3. Have the students turn to the Arts Grade 10 Learner’s Materials, and read the sections about each of these modern art forms: a) animation (pages 274-276) b) advertising (pages 278-279) c) comics illustration (pages 280-284) d) book design and illustration (pages 286-287)

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Quarter III: Media-based Arts and Design

B.

WHAT TO KNOW Have the students answer the What to Know questions for each of these media-based art forms on the pages indicated below: For Animation (page 276 of the Learner’s Materials) 1. Research on the meaning of the word “animate” or “animation.” How does it describe the qualities and capabilities of this art form? 2. What is the contribution of animation to the art of film making? 3. Briefly discuss some significant achievements of the animation industry in the Philippines—both for foreign animated films and cartoon series. 4. What role does the Animation Council of the Philippines (ACPI) play in equipping young Filipinos for a career in animation? 5. How has the Philippine Animation Studio, Inc. (PASI) helped gain recognition for Filipino animators in the field of international children’s cartoons? 6. Based on the examples presented, for what audience are our local animators creating their works? 7. In general, what themes and subject matter have our local animators been focusing on in recent years? For Advertising (page 279 of the Learner’s Materials) 1. What forms does print media take in the field of advertising? Name 5 examples. 2. What does the advertising copywriter do? 3. Name the other art professionals who work together to create a print advertisement. For Comics Illustration (page 284 of the Learner’s Materials) 1. The popularity of comics began in the Philippines through what magazine? 2. What was one of the first comic strips that appeared there? 3. Who became known as the “Father of Filipino Comics”? 4. What popular U.S. comics publisher hired many Filipino illustrators in the 1960s to the 1980s? 5. How were early Filipino comics creators influenced by American comics? 6. Yet how did local comics remain distinctly Philippine? Cite some examples to support your answer. 7. With the limited access to books and libraries in the 1960s, what role did comics play? 8. What trends in style and subject matter do you see in today’s local comics?

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ARTS Teacher’s Guide

For Book Design and Illustration (page 288 of the Learner’s Materials) 1. In the book publishing industry in the Philippines, how has the profession of book design evolved? 2. What trends or styles do you notice in the examples of book design presented? 3. What is the digital counterpart of print media now available to authors and publishers? Briefly explain this. 4. Describe how this affects the publishing and printing industry. C.

WHAT TO PROCESS (Session 6)

CHOICES OF GROUP PROJECTS: Considering the time needed to complete all the media-based projects for Quarter III, the class members will be asked to choose just one from among the following: a) b) c) d)

“A Stop-action Cartoon” “Promoting Products/Services for a Cause” “Kool Komiks” “Making a Story Book”

Those who choose the same project will be formed into groups. Then, they will work on their respective projects together outside of class hours.

Animation Group Project: “A Stop-Action Cartoon” (page 277 of the Learner’s Materials) 1.

The group members will make use of a mobile phone, tablet, or digital camera to do this most simple and basic process for creating what is known as “stop-action animation.”

2.

The members will think of an action that will be captured as a series of still images lasting a total of 10 to 15 seconds. It can be an action to be done by a human or a movement of an object.

3.

They will then carry out the action or movement, while taking a still image of each progressive step in that action or movement.

4.

The still images will then be made to “move” using a digital animation program (as discussed in Quarter II). If the program allows the inclusion of a music clip or sound effects, the group may opt to add this as well.

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Quarter III: Media-based Arts and Design

5.

The finished stop-action cartoons will be saved and turned over to you for safekeeping until they will be presented as part of the culminating exhibit.

Advertising Group Project: “Presenting Products/Services with a Cause” (page 279 of the Learner’s Materials) 1.

The group members will decide on original products or services, as well as special causes that these products or services can be presented as supporting or advocating.

2.

Using image capture and manipulation programs discussed in Quarter II, the group members will create their choice of posters, banners/streamers, brochures, or print advertisements to present these products/services with a cause. (Note: Guide the group members in selecting the final format for these projects, as the cost and the accessibility of printing or output services must be considered.)

3.

The finished print advertisements will be turned over to you for safekeeping until they will be presented as part of the culminating exhibit.

Comics Group Project: “Kool Komiks” (page 285 of the Learner’s Materials) 1.

The group members will decide upon a subject matter and main character (or characters) for a simple 5-frame comic strip that they will create.

2.

The members will volunteer to take on different aspects of producing the comic strip: a) conceptualizing and creating the “story board” for the comic strip frames b) writing the text and/or dialogue that will appear in each frame c) rendering the main characters and the background details using an illustration program of the group’s choice d) outputting the finished frames (since this will be for exhibit purposes, each frame shall be approximately 5” x 7” in size; which means the entire strip will be a total of 35” long)

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ARTS Teacher’s Guide

3.

The finished comic strip will be mounted on illustration board or chipboard cut to size.

4.

The group will turn over the finished comic strip to you for safekeeping until this will be presented as part of the culminating exhibit.

Book Illustration Group Project: “Creating a Story Book” (page 288 of the Learner’s Materials)

D.

1.

The group members will decide upon a subject matter and characters for a simple 10-page storybook that they will create.

2.

The members will volunteer to take on different aspects of producing the book: a. conceptualizing and writing the storyline b. encoding the text of the story into a word processing or book layout program c. rendering the artwork for the book cover using an illustration software d. rendering the illustrations using an illustration software, and incorporating these into the book layout e. outputting the finished cover and inside pages of the book f. binding the cover and inside pages into book form

3.

The group will turn over the finished book to you for safekeeping until this will be presented as part of the culminating exhibit.

WHAT TO UNDERSTAND Have the students answer the What to Understand questions for each of these media-based arts on the pages indicated below: For Animation (page 277-278 of the Learner’s Materials) 1. What role does animation play in the various media you see daily? 2. What do you think of the reputation of Filipino artists in the world of animated feature films and cartoon series? 3. Do you think animation is an effective medium for promoting awareness among young Filipinos about Philippine history, literature, and folk lore? Why or why not? 4. Would you consider animation as a possible career option in the future? Explain your reasons.

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Quarter III: Media-based Arts and Design

For Advertising (page 279-280 of the Learner’s Materials) 1. Is there still a place for print advertising along with other forms like television, radio, and online advertising? Why do you say so? 2. Would you consider the visual aspects of advertising as a form of media-based art? Support your answer. 3. Does advertising have certain responsibilities to the public? If yes, what do you think these are? 4. Cite a specific print advertisement that you find particularly effective. Explain the elements or techniques that you believe contribute to its impact. 5. As a consumer of certain products for personal use or for school, do you find yourself influenced by print advertisements in choosing which products to buy? What factors in the advertisements influence you most, and why? For Comics Illustration (page 285 of the Learner’s Materials) 1. Do you consider comics illustration a modern form of art? Why or why not? 2. How are today’s Philippine comics different from those of the 1960s to the 1980s? 3. Are you a comics reader—whether of American or Filipino comic books or series? If not, what is the reason? If yes, what attracts you to them? 4. Among the current generation of local comics writers and artists presented here, whose style appeals to you most? Briefly explain why. For Book Design and Illustration (page 289 of the Learner’s Materials) 1. Looking at the sample book covers shown, would you consider book design and illustration an art form? Why or why not? 2. Are book design and illustration possible options as a profession for artistic young Filipinos? Explain your opinion. 3. With books now being available online, explain how this new development affects the buying and reading public. 4. Do you view this as a positive development? Why do you say so? 5. Do you yourself access books online? What do you find to be the pros and cons of this new form of reading experience? E.

WHAT TO PERFORM Preparing for the Quarter III “Exhibit on Media-Based Arts and Design”

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ARTS Teacher’s Guide

Note: This is to be done simultaneously for the artworks from the projects for animation, advertising, comics illustration, and book design and illustration. Guide the students in labelling each artwork with the original title, the group members’ names, the date, and the following descriptive summary of how the works were created:  manual components (if any)  electronic devices used (digital camera, laptop, tablet, scanner, printer, etc.)  software programs used (image capture, image manipulation, animation, special fonts, etc.)

IV.

GENERALIZATION The various areas of digital media, such as animation, advertising, comics illustration, and book design and illustration, are truly products of the technological advances of the past decades. From the time when all of these were hand-rendered (drawing, painting, typesetting, literal cutting and pasting) to the use of simple machines and devices, these have now progressed to computer-generated processes that allow artists to modify, store, and share the finished works entirely on a desktop, laptop, or handheld device.

V.

SUMMATIVE TEST Use the following quiz items to assess the students’ grasp of the topics discussed: On animation 1. Name five highly-popular international animated films that have included Filipino animators. 2. Name two foreign-produced television cartoon series in which Filipino animators were involved. 3. Name two original Filipino animated films. 4. What are some of the institutions or associations that help develop the talents and skills of Filipino animators. On advertising 5. In the field of advertising, name at least five forms in which print media is applied. 6. What are the purposes of advertising in printed form? 7. How is Filipino artistry applied in printed advertisements?

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Quarter III: Media-based Arts and Design

On comics illustration 8. Is the Philippine comic book genre just a recent development? Why do you say so? Support your answer. 9. How were early Filipino comics artists influenced by American comics trends? Give some examples. 10. Aside from superheroes, what themes and subject matter also became popular in Philippine comics through the decades? On book design and illustration 11. In the book publishing industry in the Philippines, how has the profession of book design evolved? 12. What trends or styles do you notice in the examples of book illustration presented? 13. Name three of the Philippine publishing companies that create books showcasing the illustration and design talents of Filipino artists. On digital media 14. What is the digital counterpart of print media now available to authors and publishers? Briefly explain this. 15. Describe how this affects the publishing and printing industry. 16. What artistic and technical skills would be needed to pursue a career in digital media? 17. Give examples of formats that you yourself use for accessing materials that used to be available only in printed form.

Quarter III – Session 7 INNOVATION IN PRODUCT AND INDUSTRIAL DESIGN

I.

SUBJECT MATTER A.

Topic:

Innovation in Product and Industrial Design  Kenneth Cobonpue  Monique Lhuillier  Josie Natori  Rajo Laurel  Lulu Tan Gan  Dita Sandico Ong

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ARTS Teacher’s Guide

B.

Materials:

Photos of products and designs by Filipino product designers, fashion designers, industrial designers, etc. (these may be from magazines, catalogs, or downloaded from the internet) For group projects: materials and supplies as required by each group’s respective projects

C.

Reference:

Arts Grade 10 Learner’s Materials Pages 289-296

III. ACTIVITIES A.

PRESENTATION OF THE TOPIC 1. Have the students create a “mini gallery” in the classroom by taping onto the chalkboard and/or pinning to the bulletin board the photographs they had brought of products and designs by Filipino designers. 2. Allow the class to view the photos for about 5 minutes, and to discuss their observations. 3. Explain that they will get to learn about accomplished Filipino designers who have made a name for themselves, as well as for the Philippines, in the global world of fashion, interior, and industrial design. 4. Have the class turn to pages 289-294 of the Arts Grade 10 Learner’s Materials, and read the presentation on Filipino design. 5. Ask the students: a) Which of the Filipino designers presented made a particular impression on them, and why? b) Which particular aspect of design appeals to them most, and why? c) By viewing the sample works of these designers (and the ones displayed in the classroom “mini gallery”), how do they see technology playing a role in the concept and creation of these designs? d) How do they see art reflected in these designs as well—particularly employing Philippine materials and local crafts? Have them point to specific details.

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Quarter III: Media-based Arts and Design

B.

WHAT TO KNOW Have the students answer the What to Know questions on pages 294-295 of the Arts Grade 10 Learner’s Materials: 1. 2.

3. 4. 5.

6.

7.

8.

C.

How does technology drive the applied arts such as product design, fashion design, and industrial design? Who is an acclaimed Filipino designer who has become known globally for his innovative furniture pieces, lighting accessories, and interior accents? Who is hailed as the “Wrap Artiste” of the Philippines? Why is this so? What unique materials does she use in her creations? Who is the Filipino investment banker turned fashion designer, world-renowned for luxury lingerie and lounge wear? Which Filipino fashion designer is popularly recognized for being a judge on the TV series Project Runway Philippines and a major name in the local and international fashion scene? What other commendable efforts is he involved in? What is the new fashion line of designer Lulu Tan-Gan, known as “The Queen of Knitwear”? What makes her creations interesting and unique? Who is the Cebu-born Filipina designer who has become the darling of the international celebrity set from her beginnings as a wedding dress designer? Do you note a common vision among these Filipino artists? What do you think it is? Explain briefly.

WHAT TO PROCESS Have the class do the What to Process activities on page 295-296 of the Arts Grade 10 Learner’s Materials: Applied Arts Group Projects: “Project Runway” / “Project Interior” 1.

2. 3.

Divide the class into two large groups. Group A will create fashionrelated pieces; while Group B will create interior design-related pieces. The key here is for each group to make use of locally and readilyavailable materials in very innovative and imaginative ways. The suggested target output for each group is listed below. However, group members may have their own, even more creative ideas that they are free to implement.

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ARTS Teacher’s Guide

Group A – Fashion-related Pieces  Head piece or hair accessory  Bag, tote, or pouch  Belt or sash  Fashion accessories – bangles, buckles, buttons, a scarf, etc. Group B – Interior Design-related Pieces  Vase, basket, or decorative bowl  Seat cushion or throw pillow  Lamp shade or lighting accessory  Door mat or small area rug 4.

5.

D.

The group members will use Session 7 to conceptualize their particular products together in the classroom. However, the actual making of the products will have to be done on their own time outside of class hours Each finished piece will be labeled with a creative name highlighting its distinct qualities; and the names of the group members. The pieces will be turned over to you for safekeeping until they will be presented as part of the culminating exhibit.

WHAT TO UNDERSTAND Have the students answer the What to Understand questions on page 296 of the Arts Grade 10 Learner’s Materials: 1.

2.

3.

4. 5.

Seeing the Filipino achievers in this field, both locally and internationally, how do you view the potential of our people in terms of the ‘applied arts’? Explain your opinion. What realizations do you have about Philippine raw materials and how they can be incorporated into creations for interior design, furniture, decorative accent pieces, clothing, and fashion accessories? What do you think about combining our traditional crafts and indigenous materials with world-wide trends in color, texture, design, and even function? What is your reaction to the creations of the Filipino designers presented? Which one/s particularly impressed or appealed to you? Would you consider these designers as role models for young Filipinos like yourselves looking ahead to your future careers? Explain briefly.

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Quarter III: Media-based Arts and Design

E. WHAT TO PERFORM Preparing for the Quarter III “Exhibit on Media-Based Arts and Design” Guide the students in preparing their fashion and/or interior design creations for the culminating exhibit at the end of the quarter. All the finished pieces should be labelled with original titles, the group members’ names, the date, and the technique and materials used.

IV. GENERALIZATION Product design and industrial design, by their very nature, are technologydriven. Many of the materials and processes now available to modern designers did not exist in past decades, or have been tremendously modified and enhanced. This can be seen most prominently in furniture, lighting, interior fixtures and accessories—many of which creatively combine contemporary design with a Philippine flair. Also in the field of fashion design, for which Filipinos are already globally admired, materials and processes have also been influenced by technology. This can be seen in the blending of local fibers with other natural and synthetic ones, new weaving processes and dyeing techniques, the use of embellishments like embroidery, beadwork, applique, and others—while also being in step with world-wide fashion trends.

V.

SUMMATIVE TEST Use the following quiz items to assess the students’ grasp of the topics discussed: 1.

Cite three technological developments each that continue to advance: a) product design b) industrial design c) fashion design

2.

Name some ways in which indigenous materials and crafts have been incorporated in contemporary industrial, interior, and fashion design.

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ARTS Teacher’s Guide

3.

Match the following designers with what they are known for: a) Lula Tan-Gan _____ bridal gowns b) Monique Lhuillier _____ Project Runway Philippines c) Kenneth Cobonpue _____ luxury lounge wear d) Dita Sandico-Ong ____ stylish knitwear e) Rajo Laurel ____ trendy furniture f) Josie Natori ____ abaca fiber wraps

Quarter II – Session 8 CULMINATING ACTIVITY: EXHIBIT OF MEDIA-BASED ARTS AND DESIGN The last session for Quarter III will be devoted to staging “An Exhibit of Mediabased Arts and Design” presenting the following categories: 1. Photography 2. Film 3. Animation 4. Advertising 5. Comics Illustration 6. Book Design and Illustration 7. Product / Industrial / Fashion Design The students will select from among their own works created within Quarter III, as well as source photos, magazine or calendar cutouts, Internet images, etc. of at least two to three representative artworks each for the above categories.

Curating the Exhibit Each artwork will be accompanied by a card briefly describing the work as follows: For student-made artworks/products: Title

_________________________________________________

Artist/s

_________________________________________________

Artistic style and medium used

_______________________________

Date of creation ___________________________________________

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Quarter III: Media-based Arts and Design

For reproductions or images of known artworks/products: Title

_________________________________________________

Artist ____________________________________________________ Artistic style and medium used

_______________________________

Year or period of creation _____________________________________

Have the class members invite the school Administration, other faculty members, and their schoolmates to visit the exhibit. Help them prepare to explain the works and how these present the characteristics of different forms of media-based art and design. Critiquing the Exhibit As a form of self-evaluation, guide the students in rating the culminating exhibit using the format below:

“An Exhibit of Media-based Arts and Design” Evaluation Form

Criteria

Very Good

Good

Fair

Poor

Selection of artworks/products (theme and message) Completeness of exhibit Presentation (display, mounting, and labelling of works) Assignment of tasks Cooperation among students Response of exhibit visitors

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Quarter IV: ORIGINAL PERFORMANCE WITH THE USE OF MEDIA

CONTENT STANDARDS The learner demonstrates understanding of… 1. how theatrical elements (sound, music, gesture, movement, and costume) affect the creation and communication of meaning in a theater play/performance incorporated with media. 2. theater and performance as a synthesis of arts. PERFORMANCE STANDARDS The learner… 1. creates appropriate costumes, props, set accessories, improvised lighting, and other décor for Philippine plays. 2. creates/improvises appropriate sound, music, gesture, and movements for a chosen theatrical composition. 3. participates in an original performance inspired by local Philippine stories, myths, and events relevant to current issues. LEARNING COMPETENCIES The learner… 1. explains how an idea or theme is communicated in a selected performance through the integration of musical sounds, songs, dialogue, and dance. 2. analyzes examples of plays based on theatrical forms, and elements of art as applied to performance. 3. illustrates how the different elements are used to communicate the meaning. 4. defines the uniqueness of each original performance. 5. designs with a group the visual components of a school play (stage design, costumes, props, etc.). 6. assumes the role of a character as an actor/performer, or production staff (director, choreographer, lighting designer, stage manager). 7. analyzes the uniqueness of the group that was given recognition for its performance and explains what components contributed to its selection. 8. contributes to the conceptualization of an original performance 9. choreographs the movements and gestures needed in the effective delivery of an original performance with the use of media. 10. improvises accompanying sound and rhythm needed in the effective delivery of an original performance with the use of different media. From the Department of Education curriculum for ARTS Grade 10 (2014)

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Quarter IV: Original Performance With the Use of Media

Quarter IV – Session 1 PHILIPPINE THEATER AND PERFORMING GROUPS

I.

SUBJECT MATTER A.

Topic:

Original Performance with the Use of Media  Philippine theater and performing groups  roles in a production

B.

Materials:

Photograph of Lea Salonga and other well-known Philippine theater personalities Sample souvenir programs from any theater productions

C.

II.

Reference:

Arts Grade 10 Learner’s Materials Pages 300-313

PRE-ASSESSMENT Conduct the following survey to assess what the students know or have experienced concerning a theater production or performance: 1.

2.

3. 4.

5.

Can you identify these personalities from the world of Philippine theater? (Present to the class the photographs of Lea Salonga and other theater personalities.) Have you watched excerpts of theater productions that Lea Salonga has starred in (maybe on YouTube): Miss Saigon, Les Miserables, Flower Drum Song, Annie. Have you watched the animated films in which she provided the singing voice of the lead female character: Mulan and Aladdin. Do you know how Lea was hand-picked from among hundreds of hopefuls in several countries for the role of Kim in Miss Saigon? And how from there, she went on to become a multi-awarded theater star in London’s West End and on Broadway? Have you watched any live theater performance? If yes, describe the experience.

III. ACTIVITIES A.

PRESENTATION OF THE TOPIC (SESSION 1)

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ARTS Teacher’s Guide

1. Explain to the class that, in this Quarter IV, they will get to learn firsthand about the complex collaborative process of staging a theater production—as they join the entire class in the culminating activity of presenting an original stage performance. 2. Have the class turn to pages 300-311 of the Arts Grade 10 Learner’s Materials, and read the sections on Philippine theater groups and on the roles in a theater production. 3. Ask them to comment on the different theater groups presented, as well as on the types of productions they stage. 4. What does this tell them about the state of the Philippine theater industry? Have them explain their views. 5. Next, have the students briefly explain each of the roles/functions in a stage production team: a. producer b. director c. playwright d. set designer e. lighting designer f. costume designer g. sound designer h. production manager i. technical director j. choreographer k. makeup designer 4. Ask the class where they believe the various media arts they have studied in Quarters II and III could be most effectively applied in the staging of a theater performance.

B.

WHAT TO KNOW Have the class answer the What to Know questions on pages 311-312 of the Arts Grade 10 Learner’s Materials. Philippine Theater Groups 1. What are the active theater groups in the Philippines specializing in original plays written in Filipino? 2. Name two performing groups that present adaptations of foreign plays, primarily in English.

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Quarter IV: Original Performance With the Use of Media

3. Which theater company has produced a number of actors and actresses who have gone on to become stars on the international stage? 4. Which theater company tends to present productions with thoughtprovoking content? 5. Name the production group that focuses on family-oriented and values-rich performances. 6. Which performance company aims to develop both performers and audiences for classical music theater? 7. What do you note as two of the main objectives that Philippine theater groups have in common? Explain these briefly.

Roles in a Stage Production 1. How is the director of a play similar to an orchestra conductor? Explain briefly. 2. Which member of the production team shadows the director? Briefly describe his or her role. 3. What is the creator of the script for stage performance called? 4. Out of the many roles required in a stage production, name three that are involved with the physical setup and mood of the performance area. 5. Name two other roles that are responsible for the physical appearance of the different characters on stage. 6. What is another name for the technical rehearsal? Why was it given this name?

C.

WHAT TO PROCESS (any time within Quarter IV) Have the class do the What to Process activities on pages 312-313 of the Arts Grade 10 Learner’s Materials: “Experiencing Theater” If feasible, schedule a time within Quarter IV for the class to watch a live play. Depending on what is available or accessible in your area within that period, any of the following may be considered: Option 1: a live performance of a production by any Philippine theater group (whether mentioned above or others) Option 2: a recorded performance of a production by any of these groups to be viewed in school

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ARTS Teacher’s Guide

Option 3: a school or community play Option 4: a classroom play 1. Instruct the students to watch the play very attentively. Have them observe how the plot is developed and take note of the artistic elements and principles used. 2. Have them write a reaction paper using the following outline: Title of the play

__________________________________________

Scriptwriter

__________________________________________

Director

__________________________________________

Stage Designer

__________________________________________

Setting

__________________________________________

Main characters

__________________________________________ __________________________________________ __________________________________________

Main story line (a 1-paragraph summary) __________________________________________ __________________________________________ __________________________________________ Personal reaction __________________________________________ __________________________________________ __________________________________________

D.

WHAT TO UNDERSTAND Have the class answer the following What to Understand questions on page 313 of the Arts Grade 10 Learner’s Materials: 1. 2. 3.

What is your impression of the theater industry in the Philippines? Would you like to attend a stage production of the various theater groups? Why or why not? What type of play most interests you? Explain the reason.

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Quarter IV: Original Performance With the Use of Media

4. 5. 6.

E.

How do you feel about the Philippine theater performers who have become stars on both the local and international stage? Can you envision yourself being involved in the theater arts in some way? Would you consider a full-time (or part-time) career in this field?

WHAT TO PERFORM (Sessions 2 to 8) General orientation: 1. Brief the students on the entire process that they will go through in the remaining sessions of Quarter IV (see outline on pages 313-316 of the Learner’s Materials). 2. These sessions will be devoted to working on all aspects of the stage production that can be done in the classroom. Any other related tasks may be completed outside of class hours.

IV. GENERALIZATION Mounting an original stage performance entails a complex collaborative process involving an entire team of artists and technicians behind the scenes, supporting the actors who are visible on stage. For an original stage performance with media, the production can become even more exciting and entertaining—as the various media-based arts are used to enhance the stage design, costumes, makeup, lighting, sound, special effects, and the like.

V.

SUMMATIVE TEST Use the following quiz items to assess the students’ grasp of the topics discussed: 1. 2. 3. 4. 5. 6.

What are the different art forms that all come together in the production of a theater performance? Name the two Philippine theater groups that present original and adapted plays in Filipino. Name at least three other active theater groups in the country that stage theater productions, primarily in English. Cite the achievements of theater actress Lea Salonga. Who is the overall ‘conductor’ of a theater production? Name at least five other roles that are needed in mounting a production on stage. Briefly describe the main task involved in this role. 167

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ARTS Teacher’s Guide

Quarter IV – Sessions 2 to 8 ORIGINAL PERFORMANCE WITH THE USE OF MEDIA During Session 1, you would have already oriented the class on this culminating activity of staging an original theater performance. Every class member would already have been assigned his or her specific role in the production process, which each one shall then carry out in the course of the Quarter.

CULMINATING ACTIVITY FOR THE FOURTH QUARTER STAGING AN ORIGINAL PERFORMANCE Assigned Theme: A Philippine Myth, Legend, or Folk Tale Or a Current Issue

A.

Start of the Quarter: Pre-Production 1. Sourcing/Writing the Script - A group of class members will be tasked with sourcing an existing script on a Philippine myth, legend, or folk tale; or dealing with a current issue. - If an existing script is not available or not suitable for school use, this group will create an original script. Note: Guidelines for effective scriptwriting would have been taken up in English classes. 2. Casting the Actors - Based on the script that has been sourced or written, the characters will be cast from among the class members. 3. Forming the Production Team - The remaining class members will be assigned the following roles that are typically required for a school or class play: a) Director b) Technical/Assistant Director c) Set Designer, with a team of 4-5 students as production crew d) Lighting Designer, with a team of 4-5 students as lighting crew e) Sound Designer, with a team of 4-5 students as sound crew f) Production Manager, with a team of 6-8 students as stage crew g) Costume Designer, with a team of 3-4 students as wardrobe crew h) Makeup Designer, with a team of 2-3 students as makeup crew i) Choreographer, with an Assistant Choreographer

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Quarter IV: Original Performance With the Use of Media

B.

Mid-Quarter:Production of Sets, Costumes, and Props Design of Lighting and Sound, Using Different Media Start of Acting Rehearsals and Blocking As mentioned at the start of this Quarter, theater is an art form that brings together an entire range of art forms—along with their corresponding elements and principles. As the entire class begins production of the play’s sets, costumes, and props; the design of the lighting and sound; and the acting rehearsals, all class members should maintain a clear intent to apply the following in this particular class production:

Elements of Art as Applied to an Original Performance 1. Sound and Music – incorporating sound recording and editing techniques available via applications for desktop or laptop computers, tablets, and android phones 2. Gesture, Movement, and Dance – incorporating appropriate dance styles and techniques learned in Physical Education classes 3. Costume, Mask, Makeup, and Accessories – incorporating art techniques such as painting, papier mache, assemblage, simple sculpture and industrial design 4. Spectacle – creating a striking, even awe-inspiring effect on stage through the use of lighting, sound, music, costumes, dance, and special effects

Principles of Art as Applied to an Original Performance 1. 2. 3. 4. 5.

Rhythm, Movement Balance Emphasis Harmony, Unity, and Variety Proportion

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ARTS Teacher’s Guide

C.

Last Weeks of the Quarter: Technical Rehearsal -

D.

Schedule a technical rehearsal at least a week before the intended performance date of the play. Collaborate with the Music teacher, the Phyiscal Education teacher, and perhaps the Drama Club moderator to assess what components of the play may still need improvement.

End of the Quarter: Performance Proper -

-

This is the culmination of the students’ months of hard work and preparation. Have them invite the other sections of Grade 10, other grade levels, and the school administration to be their audience. Encourage them to execute their respective roles—whether as an actor or a member of the production team—to the best of their ability. Schedule a critiquing session after the performance to discuss the various learnings that took place in the course of staging an original theater performance.

Critiquing the Performance As a form of self-evaluation, have the class members rate their performance using the format below:

“STAGING AN ORIGINAL PERFORMANCE” Evaluation Form

Criteria Poor

Very Good

Good

Fair

Choice of play subject (theme and message) Casting of characters

Assignment of tasks

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Quarter IV: Original Performance With the Use of Media

Rehearsal process Production process Cooperation among students Carrying out of roles: Scriptwriting Direction Stage management Acting Stage design Lighting Music Choreography Sound effects Costumes Makeup Audience response

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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 accompaniment aerophone Any musical instrument that produces sound primarily by causing a body of air to vibrate, without the use of strings or membranes alternative 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 for its unconventional practices such as distorted guitar sounds, oppressive lyrics, and defiant attitudes. alto 1 A female voice with a range lower than a soprano, but higher than the male tenor 2 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 oratorio art song Short stylized song dealing with such subjects as love, nature, and life. It is usually written for one voice with piano accompaniment atonality A term used for music without a central key, thereby producing dissonant harmonies and disjunct melodies avant-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 gestures beat Regular, current pulsation that divides music into equal units of time bebop 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, rhythm section (guitar, piano, double bass, vibes), and brass instruments (saxophones), with a lyrical string 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 Cuban samba. 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 with one’s state of mind blues ballad A fusion of Anglo-American and Afro-American styles from the 19th century that deals with the anti-heroes resisting authority. call and response method It is a succession of two distinct musical phrases usually rendered by different musicians, where the second phrase acts as a direct commentary on or response to the first. Much like the question and answer sequence in human communication, it also forms a strong resemblance to the verse-chorus form in many vocal compositions. cha cha A ballroom dance originating in Cuba in 1953, derived from mambo and its characteristic rhythm 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 small groups—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 tones chordophone Any musical instrument that produces sound primarily by vibrating strings chromatic An interval based on an octave of 12 semitones rather than a diatonic scale 172

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concerto Originally, a work (vocal or instrumental) with effects of contrast, but now a work in which a solo instrument performs with a large ensemble or orchestra counterpoint The simultaneous combination of two or more melodies, or polyphony countersubject A subsidiary theme played in response to the subject of a figure cumbia 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 of venues bearing the same name as a place for public dancing dissonance An interval or chord that is not harmonious like a consonance dynamics Variations in the volume of musical sounds electronic music Music which uses electronic equipments ensemble A small group of performers expressionism 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 generation form Organization of musical ideas in time; structure of a musical composition foxtrot 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 successive chords idiophones A musical instrument that creates sound through its own vibration, without the use of strings or membranes impressionism A term borrowed from painting to describe music that is intended to convey an impression (often of natural phenomena) rather than a dramatic or narrative idea incidental music Music composed as a background in a stage production interval 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 music jazz 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 tune meter Organization of beats into regular groups musique 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 techniques draw 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 173

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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 music was played as the matador enters (paseo) and during passes just before the kill pitch Relative highness or lowness of a sound polyphony A texture in which two or more independent melodic lines are combined, as opposed to heterophony, homophony, monophony prelude A short instrumental work originally intended to precede another, but from the nineteenth century a short, self-contained piece usually for piano program music Instrumental music that is narrative or descriptive of some non-musical idea, often literary or pictorial progression A musically logical succession of chords ragtime An American popular musical style mainly for piano, originating in the red light districts of the Afro-American communities in St. Louis and New Orleans. Its style was said to be a modification of the “marching mode” made popular by John Philip Sousa, where the effect is generated by an internally syncopated melodic line pitted against a rhythmically straightforward bass 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 nonJamaican. rhythm The distribution of sounds into groups with a perceptible meter or pulse rock 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.” This style 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 that combines Afro-American forms such as the blues, jump blues, jazz, and gospel music with the Western swing and country music. rumba A popular recreational dance of Afro-Cuban origin, performed in a complex duple meter pattern and tresillo, which is a dotted quaver – dotted quaver – dotted semiquaver rhythm. It is normally used as a ballroom dance scale A sequence of notes going upwards or downwards by step score The music-copy of a piece for several performers; hence full score, containing complete details of every participating voice and instrument serialism 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 order soprano 1 The highest female voice 2 A term used for an instrument of high range soul 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 jazz sound Vibrations which are transmitted, usually through air, to the eardrum, which sends impulses to the ear that we hear spiritual 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 written standard 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 based suite 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 dance movements-gigue syncopation The stressing of beats of a meter that are normally unstressed synthesizer 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., on a guitar) rather than the tone to be played tango A Latin-American dance form whose name may have been of African origin meaning “African Dance” or from the Spanish word “taner” meaning to play (an instrument). tempo The speed of a piece of music tenor The highest normal male voice theme A musical idea on which a work is based, usually with a recognizable melody timbre Quality of sound that distinguishes one instrument or one voice from another time 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 per measure, 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 music tone Sound that has a definite pitch or frequency tone-color The quality of the sound of a particular instrument or voice, or a combination of them triad A three-note “common” chord consisting of a fundamental tone with tones at the intervals of a 3rd and 5th above twelve-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 meter whole 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. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23.

ah kuh-pel-uh; Italian ah kahp-pel-lah ahr-ee-uh; air-ee-uh; ahr-ee-uh; uh-rahy-uh uh-vahnt-gahrd; uh-vant-, av-ahnt-, ah-vahnt-; French a-vahn-gard bee-bop bos-uh noh-vuh kYn cháirtō chah-chah koo m-bee-uh; Spanish koom-byah ahn-sahmb; French ahn-sahn-bluh ey-tood, ey-tyood, ey-tood, ey-tyood;French ey-tyd jahyv marakatu French pronunciation: [myzik kɔ̃.kʁɛt] op-er-uh, op-ruh oh-puh s pah-soh doh-bley; Spanish pah-sawdaw-vle prel-yood, preyl-, prey-lood, preereg-ey sahl-suh; Spanish sahl-sah] sam-buh, sahmtang-goh tab-luh-cher, -choo r trahy-ad, -uh d

a capella aria avant-garde bebop bossa nova concerto cha cha cumbia ensemble etude jive maracatu musique concre’te opera opus paso doble prelude reggae salsa samba tango tablature triad

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Musicians’ Names

Pronunciation

1. 2. 3. 4. 5. 6. 7. 8.

Claude [klôd), De·bus·sy [dèb byoo see] Schoen·berg [shúrn bùrg] Bar·tók [bar tàwk] Stra·vin·sky [strY vín skee] Pro·ko·fi·eff [prY káwfee ef] Pou·lenc [pol angk] Bern·stein [búrn steen] Stock·haus·en [stók howz’n]

Claude Debussy Arnold Schoenberg Bela Bartok Igor Stravinsky Sergey Prokofieff Francis Poulenc Leonard Bernstein Karlheinz Stockhausen

ARTS GLOSSARY abstractionism An artistic style in which the natural appearance of objects becomes unimportant, and images are reduced to geometrical shapes, patterns, lines, angles, textures, and colors acrylic A fast-drying paint containing pigment suspension in acrylic polymer emulsion action painting A style of painting in which paint is spontaneously dribbled, splashed, or smeared on the canvas, rather than being carefully applied aesthetic Relating to or dealing with the beautiful; pleasing in appearance airbrush A device that is used to spray a liquid (such as paint) onto a surface android 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 OS animation 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 another avant-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 artwork having equal “visual weight” celluloid A colorless flammable material used to make photographic film cinematography The art of making motion pictures collage An artistic composition of materials and objects pasted over a surface, often with unifying lines and color composition An organization or arrangement imposed upon the elements within a work of art conceptual 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 sculpture contemporary art Art subjects, styles, and forms that are prevalent at the current time contrast The use of opposing elements, such as colors, forms, or lines, in proximity to produce an intensified effect in a work of art copywriter The creator of text, normally for use in advertising in magazines, brochures, posters cubism 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 the form of depicted objects dadaism A movement in art and literature based on deliberate irrationality and negation of traditional artistic values dark room A room from which all light is excluded, so that photographs can be developed in it digital Referring to data (including images) that are created, stored, and transmitted through electronic means digital 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 singlelens 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 image documentary A film or TV program presenting the facts about a person or event dubbing 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 crafts entrepreneur A person who conceptualizes and develops a business expressionism 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 resulting vibrant and decorative effect filter In photography, a device that partially or completely absorbs certain light rays fish eye A visual distortion, usually in a photographic image, created by a special lens resulting in a convex, hemisphere-shaped image focal Placed at or measured from a focus footage Film that has been shot foreground The part of a scene or picture that is nearest to and in front of the viewer form 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 painting futurism 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 mechanical processes genre A type, style, or category of art haute couture “High fashion” or the creation of exclusive custom-fitted clothing hue 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 knife instead 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 images by using strokes of unmixed colors to give the impression of the reflected light improvised Created or devised with the use of whatever is on hand installation 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 motion kinetoscope 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 the main 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 figures were mere outlines without expression mime The art or technique of portraying a character, mood, idea, or narration by gestures and bodily movements minimalism A style or technique (as in music, literature, or design) that is characterized by extreme spareness and simplicity 177

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mixed media Varied artistic materials and processes used in combination in one artwork monochromatic Having only a single color montage In filmmaking, the process of editing the film footage monumental Huge, imposing, great mythical 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 but placing emphasis on the importance of the work of art produced rather than on the concept generating the work neoprimitivism An early 20th century art movement inspired by the native arts of Africa and the South 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 a nickel (five cents) nonobjectivism An artistic style that had no reference to recognizable objects; lines, shapes, and colors 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 precisely planned and positioned lines, spaces, and colors to create the illusion of movement palette In art, a wooden board used for mixing colors for painting performance art A form of theatrical art featuring the activity of the artist and works presented in a variety of media perspective 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 depth photomontage A combination of several photographs joined together for artistic effect or to show more of the subject than can be shown in a single photograph pictograph A written or drawn symbol that conveys its meaning through its visual resemblance to a physical object pigment A dry insoluble substance, usually pulverized, which when suspended in a liquid becomes a paint, ink, etc. playwright A writer of plays; dramatist plotter A computer printer for printing vector graphics pop art A form of art that depicts objects or scenes from everyday life and employs techniques of commercial art and popular illustration proportion 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 a specific pattern satire A genre of literature, visual art, and performing arts in which shortcomings, vices, and abuses of 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 film inside it to light slapstick comedy Broad comedy characterized by boisterous action snapshot A photograph, usually taken quickly and spontaneously social 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 ceilings surrealism A style of painting depicting strange subjects like those seen in dreams and fantasies symmetrical 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 unit tactile Perceptible to the sense of touch; tangible texture An element of art having to do with the roughness or smoothness of an artwork’s surface three-dimensional Having three dimensions: length, width, and depth two-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 a meaningful whole value An element of art referring to the lightness or darkness of a color variety A principle of art referring to the use of differences or modifications to create visual interest viewfinder A device on a camera that indicates, either optically or electronically, what will appear in the field of view of the lens virtual 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 the early 1900s

ARTS PRONUNCIATION GUIDE Artists’ Names Cezanne – say-ZAHN Delacroix – deh-lah-KRWAH Manet – mah-NAY Monet – moe-NAY Renoir – ruhn-WAR Van Gogh – van-GO

Art Terms aesthetic - es·thet´ic celluloid - sel´lu·loyd cubism - kyu´bism fauvism - fov´ism genre - zhon´r montage - mon·täzh´ surrealism - sur·re´al·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.com www.imlsp.com www.naxosmusiclibrary.com www.icking-music-archive.org www.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. 1971 Time-Life Library of Art. The World of Delacroix. Time Inc., U.S.A. 1971 Time-Life Library of Art. The World of Manet. Time Inc., U.S.A. 1972 Time-Life Library of Art. The World of Monet. Time Inc., U.S.A. 1972 Time-Life Library of Art. The World of Picasso. Time Inc., U.S.A. 1972 Time-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/georgetapan John K. Chua – http://adphoto.com.ph/photographer_profile/id/2 Federation 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+pictu res+with+your+point+and+shoot+camera http://digital-photography-school.com/megapost-learning-how-to-use-your-first-dslr/ http://www.wikihow.com/Use-Your-Digital-Camera%27s-ISO-Setting

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