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Grade 10
Teacher’s Guide
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HORIZONS Grade 10
Teacher’s Guide
Music and Arts Appreciation for Young Filipinos
ISBN 978-971-793-022-0
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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
tawidcorp@yahoo.com; tawidpub@gmail.com
Editorial Board
Editors:
Evelyn F. Cabanban
Melissa Y. Moran
Milagros P. Valdez, language reader
ii
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electronic or mechanical including photocopying without written permission from the DepEd Central Office.
TABLE OF CONTENTS
MUSIC
iii
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electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS
Impressionism ............................................................................... 91
Expressionism: A Bold New Movement........................................... 97
Abstractionism .................................................................................. 101
Abstract Expressionism, Pop Art, Op Art ......................................... 105
Installation and Performance Art ................................................... 111
iv
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
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
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
tawidcorp@yahoo.com; tawidpub@gmail.com
Editorial Board
Editors:
Evelyn F. Cabanban
Melissa Y. Moran
Milagros P. Valdez, language reader
ii
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
iii
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.
ARTS
Impressionism ............................................................................... 91
Expressionism: A Bold New Movement........................................... 97
Abstractionism .................................................................................. 101
Abstract Expressionism, Pop Art, Op Art ......................................... 105
Installation and Performance Art ................................................... 111
iv
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
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electronic or mechanical including photocopying without written permission from the DepEd Central Office.
vi
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Quarter I: Music of the 20th Century
Quarter I
MUSIC OF THE 20TH CENTURY
CONTENT STANDARDS
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.
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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
Sub-topics: Impressionism
Expressionism
Neo-Classicism
Avant-Garde
Modern Nationalism
A. PRELIMINARY ACTIVITY
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Quarter I: Music of the 20th Century
2. Motivation
B. DEVELOPMENTAL ACTIVITY
3. Let them compare the paintings with their counterpart in music, in terms
of the elements and characteristics of each.
C. INTEGRATION
1. Integration of Music with Arts, Literature, and History through the use
of paintings and music recordings.
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
2. Which Russian composer created the music for the ballet The Firebird?
5. Who was the target audience of Prokofieff’s Peter and the Wolf?
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Quarter I: Music of the 20th Century
1. You will play excerpts of any (one) of the following musical examples:
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.
V. WHAT TO UNDERSTAND
A. Name the Composer, Title of the Music, Musical Style, and Description
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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electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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?
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.
1. Divide the class into groups. Assign groups who will re-enact what
they watched. Assign other groups to do the video recording.
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Quarter I: Music of the 20th Century
5. Have the groups show and discuss their video works in class.
B. Performance Activity 2:
Singing or Humming Musical Fragments
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.
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.
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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.
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.
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
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.
7. One student may be assigned to tabulate the scores after the performance.
E. Performance Activity 5:
Live Concert or Recording or Music Video
Let the students choose the activity that they are interested in.
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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%).
1. Musicianship (60%)
a. compositional concepts presented ____________
b. musical elements ____________
c. technique ____________
10
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Quarter I: Music of the 20th Century
VII. EVALUATION
1. What are the styles of 20th century classical music studied in this lesson?
2. Explain briefly how these styles have counterparts in the visual arts,
particularly in painting.
B. Encourage the students to search for the following video on YouTube and
to view it for additional inights on 20th century music:
They may also search for Bernstein’s other video lectures on music.
11
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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. 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.
12
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Quarter I: Music of the 20th Century
B. DEVELOPMENTAL ACTIVITY
C. INTEGRATION
D. GENERALIZATION
13
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MUSIC Teacher’s Guide
1. Who was the French composer known as the “Father of Electronic Music?
Varese ___________________________
Stockhausen ___________________________
Cage ___________________________
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.
14
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Quarter I: Music of the 20th Century
4. 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.
V. WHAT TO UNDERSTAND
Name the Composer, Title of the Music, Musical Style, and Description
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?
A. Activity 1:
Experimentation with the Sounds of 20th Century Music Systems
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.
15
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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.
B. Performance Activity 2:
Original Chance and Electronic Music
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
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.
7. Have the students answer this question: What was the role of the
audience in the performance of Chance Music? Explain your answers.
Video Clips
1. Divide the class into four groups by counting off from 1 to 4.
16
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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. Choose the “Best Video Award” using the criteria: Creativity (50%)
and Presentation (50%).
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
1. Musicianship (60%)
a. compositional concepts presented ____________
b. musical elements ____________
c. technique ____________
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
18
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Quarter II: Afro-Latin American and Popular Music
Quarter II
AFRO-LATIN AMERICAN
AND POPULAR MUSIC
CONTENT STANDARDS
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.
19
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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. PRELIMINARY ACTIVITY
2. Motivation
a. Show video/film clips or any recording from YouTube of excerpts
of African and Latin American Music.
20
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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
3. Group Discussion: Let the students compare their insights with their
classmates in terms of the elements and characteristics of each.
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.
21
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MUSIC Teacher’s Guide
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?
Class Activity
22
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Quarter II: Afro-Latin American and Popular Music
V. WHAT TO UNDERSTAND
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.
3. Have them answer: “How did you relate in making improvised African and
Latin American musical instruments found in the environment?”
2. Let them answer: “How does it feel to conceptualize the dance movements
in each music category?”
Group Activities
a. Divide the class into four groups. Ask each group to draw lots to sing a
song from one of the following musical genres:
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
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.
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
24
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Quarter II: Afro-Latin American and Popular Music
KUMBAYA
25
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MUSIC Teacher’s Guide
WAKA WAKA
26
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Quarter II: Afro-Latin American and Popular Music
Rating scale:
5 = Very Good 2 = Poor
4 = Good 1 = Needs Follow-up
3 = Fair
27
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MUSIC Teacher’s Guide
VII. EVALUATION
Have the students choose a new favorite musical genre. On a one fourth (1/4)
sheet of pad paper, have them describe the character and classification of African
and Latin American music and tell which is their favorite, and why.
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.
28
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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. Topic: Jazz
Popular Music
Original Pilipino Music (OPM)
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.
29
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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. DEVELOPMENTAL ACTIVITY
4. Let the students identify aurally the different genres of today’s music.
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.
D. GENERALIZATION
30
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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.
1. How did the different forms of popular music reflect life in the 20th century?
3. What role did media like radio, television, and recordings play in the
development of these different musical genres?
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.
V. WHAT TO UNDERSTAND
2. After this activity, ask the students: “How does it feel to conceptualize the
dance movements in each music category?”
31
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MUSIC Teacher’s Guide
Group Activities
b. Each group will be asked to draw lots to sing a song from one of the
following musical genres:
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.
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Quarter II: Afro-Latin American and Popular Music
c. Ask the class members to choose the “Best Song Performance” based
on how well the group presented their assigned music genre.
33
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MUSIC Teacher’s Guide
Rating scale:
5 = Very Good 2 = Poor
4 = Good 1 = Needs Follow-up
3 = Fair
34
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electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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.
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 well-
known 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.
35
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MUSIC Teacher’s Guide
Quarter III
CONTEMPORARY PHILIPPINE MUSIC
CONTENT STANDARDS
PERFORMANCE STANDARDS
The learner...
LEARNING COMPETENCIES
The learner...
36
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Quarter III: Contemporary Philippine Music
Quarter III
CONTEMPORARY PHILIPPINE MUSIC
I. SUBJECT MATTER
37
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MUSIC Teacher’s Guide
A. PRELIMINARY ACTIVITY
B. DEVELOPMENTAL ACTIVITY
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.
C. INTEGRATION
38
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Quarter III: Contemporary Philippine Music
D. GENERALIZATION
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
39
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MUSIC Teacher’s Guide
A. Listening Activity
40
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Quarter III: Contemporary Philippine Music
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.
2. Divide the class into four teams, with each team forming a line.
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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. Have the students compose a simple song, for which they will create both
the lyrics and the music.
2. 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.
3. They may also include an accompaniment using a guitar, flute, recorder,
keyboard, drums, tambourine, maracas, or even improvised musical
instruments from the environment.
4. Have the students sing their original songs or adaptations in class, either a
capella (without accompaniment) or with accompaniment.
5. Ask them this question: What motivated you to compose or adapt the music
of that particular song?
A. Singing Activity
42
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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:
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.
5. To learn and practice their chosen song, the students may bring to class
“minus one” music on a CD, mobile phone, or USB.
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.
43
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MUSIC Teacher’s Guide
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.
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.
44
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electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Contemporary Philippine Music
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
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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. PRELIMINARY ACTIVITY
46
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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.
C. INTEGRATION
D. GENERALIZATION
47
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MUSIC Teacher’s Guide
2. Discuss the lives and works of the following 20th century Filipino composers
and performers:
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
A. Listening Activity
48
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Quarter III: Contemporary Philippine Music
49
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MUSIC Teacher’s Guide
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.
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.
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Quarter III: Contemporary Philippine Music
3. Have them write new lyrics to fit the music, and include an accompaniment
using guitar, flute, recorder, keyboard, percussion, or improvised musical
instruments.
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.
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.
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.
51
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MUSIC Teacher’s Guide
Rating myself:
52
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Quarter III: Contemporary Philippine Music
Quarter III
CONTEMPORARY PHILIPPINE MUSIC
Sessions 6, 7, and 8
SONG COMPOSERS
I. SUBJECT MATTER
A. PRELIMINARY ACTIVITY
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MUSIC Teacher’s Guide
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
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
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
54
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Quarter III: Contemporary Philippine Music
D. GENERALIZATION
1. Discuss the lives and musical contributions of the following 20th century
Filipino song composers
2. For each of the composers named above, ask the students to give the title
of any of his compositions.
55
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MUSIC Teacher’s Guide
A. Listening Activity
56
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Quarter III: Contemporary Philippine Music
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.
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. 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.
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?”
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.
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.
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.
59
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MUSIC Teacher’s Guide
Rating myself:
60
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Quarter IV: 20th and 21st Century Multimedia Forms
Quarter IV
20TH AND 21ST CENTURY
MULTIMEDIA FORMS
CONTENT STANDARDS
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…
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.
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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
Musical scores
A. PRELIMINARY ACTIVITY
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.
62
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electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter IV: 20th and 21st Century Multimedia Forms
B. DEVELOPMENTAL ACTIVITY
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.
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
63
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MUSIC Teacher’s Guide
3. What role did media and social media play in the development of these
musical genres specifically the radio, television, video, and recordings?
You may let the class do these listening and singing activities separately or
combined together, depending on the allotment of time.
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.
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:
65
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MUSIC Teacher’s Guide
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.
Enrichment Activities
Video Clips
1. Divide the class into four groups.
2. Together with their group mates, have the students explore how multi-
media arts can be used to portray 20th century musical styles (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
V. 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.
5. After this Performance Activity, let them answer the following: What insights
did I gain from this activity?
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)
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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).
6. After the performances, ask the students to discuss the differences they
have observed and experienced between Philippine opera and western
opera.
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.
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.
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.
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?_______________
69
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MUSIC Teacher’s Guide
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.
70
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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
Musical scores
A. PRELIMINARY ACTIVITY
2. Motivation:
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MUSIC Teacher’s Guide
B. DEVELOPMENTAL ACTIVITY
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.
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
1. How did the different forms of Philippine ballet reflect life in the 20th century?
3. What role did media like radio, television, and recordings play in the
development of Philippine ballet?
7. How is Philippine ballet relevant to life in the 20th and 21st century in
relation to media and technology?
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.
73
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MUSIC Teacher’s Guide
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
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
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Quarter IV: 20th and 21st Century Multimedia Forms
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?”
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.
3. Let them perform the short ballet in class, using musical instruments as
accompaniment for their music works for the ballet.
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.
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MUSIC Teacher’s Guide
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
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
I. SUBJECT MATTER
Musical scores
A. PRELIMINARY ACTIVITY
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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.
B. DEVELOPMENTAL ACTIVITY
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.
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MUSIC Teacher’s Guide
D. GENERALIZATION
1. How did the different forms of Philippine music reflect life in the 20th
century?
3. What role did media like radio, television, and recordings play in the
development of these different musical genres?
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.
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Quarter IV: 20th and 21st Century Multimedia Forms
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
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 any of the vocal interpretations of songs from
Philippine musicals?
a. Noli Me Tangere
Song title: _____________________________ __________
b. El Filibusterismo
Song title: _____________________________ __________
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Quarter IV: 20th and 21st Century Multimedia Forms
d. Katy!
Song title: _______________ ______________ __________
f. Florante at Laura
Song title: _____________________________ __________
g. Daragang Magayon
Song title: _______________ ______________ __________
h. Magsimula Ka
Song title: _____________________________ __________
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MUSIC Teacher’s Guide
Group Activity
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.
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?”
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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.
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.
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.
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MUSIC Teacher’s Guide
Rating myself:
VI. 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.
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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.
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.
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MUSIC Teacher’s Guide
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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
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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
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
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
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electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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 non-
Jamaican.
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
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electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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
zarzuela A musical stage performance popularized in the Philippines during the Spanish period
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Musicians’ Names Pronunciation
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”
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 single-
lens reflex camera with a digital imaging sensor, eliminating the use of film
distortion / distorted The alteration of the original shape of something, such as an object or 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
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
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
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electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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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electronic or mechanical including photocopying without written permission from the DepEd Central Office.
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
zarzuela A Philippine adaptation of the European opera, highly popular during the late 1800s to the
early 1900s
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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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.
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
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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electronic or mechanical including photocopying without written permission from the DepEd Central Office.