Music9-Quarter1-module 2 - Final

9
MUSIC
Quarter 1 – Module 2 (Week 2 to
2.0
Week 8):
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Performance Practice (Setting,
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Composition, Role of
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Composers/Performers, and Audience) S
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during Medieval, Renaissance and
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Baroque Periods
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_______________________________________________________________________________________________________________________________________________________________
Subject to further validation for IP compliance, this material is for first quarter use only. Circulation shall be limited to public schools within the jurisdiction of the Division of Cebu Province. LR-PIPCV
MUSIC– Grade 9
Alternative Delivery Mode
Quarter 1 – Module 2: Performance Practice (Setting, Composition, Role of
Composers/Performers, and Audience) during Medieval, Renaissance and Baroque
Periods
Republic Act 8293, section 176 states that: No copyright shall subsist in any work
of the Government of the Philippines. However, prior approval of the government agency or
office wherein the work is created shall be necessary for exploitation of such work for profit.
Such agency or office may, among other things, impose as a condition the payment of
royalties.
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Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names,
trademarks, etc.) included in this module are owned by their respective copyright holders.
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Every effort has been exerted to locate and seek permission to use these materials from
their respective copyright owners. The publisher and authors do not represent nor claim
ownership over them.
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Published by the Department of Education
Secretary: Leonor Magtolis Briones
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Undersecretary: Diosdado M. San Antonio
Development Team of the Module

Writer: Michael Vincent A. Lopez
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Content Editor/s: Nenita G. Jaralve
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Evelyn G. Patiño
Language Editor: Fanny Y. Inumerables
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Lay-out Editor: Charmaine L. Juvahib

QA Evaluator: Milanie M. Panique
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Moderator: Milanie M. Panique

Management Team: Marilyn S. Andales EdD, CESO V. – Division Superintendent
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Leah B. Apao, Ed.D.CESE - Asst. Schools Division Superintendent

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Esther A. Funtalan, Ed.D. – Asst. Schools Division Superintendent

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Cartesa M. Perico, Ed.D. – Asst. Schools Division Superintendent

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Mary Ann P. Flores – CID Chief

Isaiash T. Wagas – EPS LRMS
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Nenita G. Jaralve – EPS MAPEH

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Printed in the Philippines by ________________________
Department of Education – Division of Cebu Province
Office Address: DepEd Cebu Province, IPHO Bldg., Sudlon, Lahug, Cebu City
Telefax: (032) 255-6405
Email Address: cebu.province@deped.gov.ph
_______________________________________________________________________________________________________________________________________________________________
9
2.0
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MUSIC
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Quarter 1 – Module 2:
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S
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Performance Practice (Setting,
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Composition, Role of
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Composers/Performers, and Audience)

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during Medieval, Renaissance and

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Baroque Periods
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_______________________________________________________________________________________________________________________________________________________________
Introductory Message
For the facilitator:
Welcome to the MUSIC 9 Alternative Delivery Mode (ADM) Module on Performance

Practice (Setting, Composition, Role of Composers/Performers, and Audience)
during Medieval, Renaissance and Baroque Periods!
This module was collaboratively designed, developed and reviewed by educators
both from public and private institutions to assist you, the teacher or facilitator in
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helping the learners meet the standards set by the K to 12 Curriculum while
overcoming their personal, social, and economic constraints in schooling.
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This learning resource hopes to engage the learners into guided and independent
learning activities at their own pace and time. Furthermore, this also aims to help
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learners acquire the needed 21st century skills while taking into consideration their
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needs and circumstances.
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In addition to the material in the main text, you will also see this box in the body of
the module:
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Notes to the Teacher

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This contains helpful tips or strategies

that will help you in guiding the
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learners.
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As a facilitator, you are expected to orient the learners on how to use this module.
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You also need to keep track of the learners' progress while allowing them to manage
their own learning. Furthermore, you are expected to encourage and assist the
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learners as they do the tasks included in the module.

For the learner:
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Welcome to the Music 9 Alternative Delivery Mode (ADM) Module on Performance

Practice (Setting, Composition, Role of Composers/Performers, and Audience)
during Medieval, Renaissance and Baroque Periods!
This module was designed to provide you with fun and meaningful opportunities for
guided and independent learning at your own pace and time. You will be enabled to
process the contents of the learning resource while being an active learner.
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This module has the following parts and corresponding icons:
This will give you an idea of the skills

What I Need to Know or competencies you are expected to
learn in the module.
What I Know This part includes an activity that aims

to check what you already know about
the lesson to take. If you get all the
answers correct (100%), you may
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decide to skip this module.
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What’s In This is a brief drill or review to help
you link the current lesson with the
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previous one.
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What’s New In this portion, the new lesson will be
introduced to you in various ways such
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as a story, a song, a poem, a problem
opener, an activity, or a situation.
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What is It This section provides a brief
discussion of the lesson. This aims to
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help you discover and understand new

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concepts and skills.
What’s More This comprises activities for

independent practice to solidify your
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understanding and skills of the topic.

You may check the answers to the
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exercises using the Answer Key at the

end of the module.
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What I Have Learned This includes questions or blank

sentence/paragraph to be filled into
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process what you learned from the

lesson.
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This section provides an activity which

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What I Can Do
will help you transfer your new
knowledge or skill into real life
situations or concerns.
Assessment This is a task which aims to evaluate

your level of mastery in achieving the
learning competency.
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Additional Activities In this portion, another activity will be
given to you to enrich your knowledge
or skill of the lesson learned.
Answer Key This contains answers to all activities

in the module.
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At the end of this module you will also find:
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References This is a list of all sources used in
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developing this module.
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The following are some reminders in using this module:
1. Use the module with care. Do not put unnecessary mark/s on any part of the S
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module. Use a separate sheet of paper in answering the exercises.
2. Don’t forget to answer What I Know before moving on to the other activities
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included in the module.

3. Read the instruction carefully before doing each task.
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4. Observe honesty and integrity in doing the tasks and checking your answers.
5. Finish the task at hand before proceeding to the next.
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6. Return this module to your teacher/facilitator once you are through with it.
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If you encounter any difficulty in answering the tasks in this module, do not
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hesitate to consult your teacher or facilitator. Always bear in mind that you are not
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alone.
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We hope that through this material, you will experience meaningful learning and
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gain deep understanding of the relevant competencies. You can do it!

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What I Need to Know
This module was designed and written with you in mind. It is here to
help you understand the Performance Practice (Setting, Composition, Role of
Composers/Performers, and Audience) during Medieval, Renaissance and
2.0
Baroque Periods. The scope of this module permits it to be used in many
different learning situations. The language used recognizes the diverse
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vocabulary level of students. The lessons are arranged to follow the standard
sequence of the course. But the order in which you read them can be
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changed to correspond with the textbook you are now using.
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The module is divided into three (3) lessons, namely:
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• Lesson 1 – Music of Medieval Period (700 – 1400)
• Lesson 2 – Music of Renaissance Period (1400 – 1600) S
• Lesson 3 – Music of the Baroque Period (1685 – 1750)
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After going through this module, you are expected to:
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1. listen perceptively to selected vocal and instrumental music of

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Medieval, Renaissance and Baroque Periods;

2. explain the performance practice (setting, composition, role of
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composers/performers and audience) of Medieval, Renaissance and

Baroque Periods;
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3. explore other arts and media that portray Medieval, Renaissance and
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Baroque elements;
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4. improvise appropriate accompaniment to given Medieval and

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Renaissance songs;
5. play simple melodies of a chorale and provide accompaniment.
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What I Know
Identification. Identify the composer of each selection. (Write your answer in ¼
sheet of paper)
_____ 1. Kyrie
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_____ 2. La Chanson du roi de Sicile
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_____ 3. It Was A Lover And His Lass
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_____ 4. Works for Clavichord and Harpsichord
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_____ 5. Samson
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What’s In
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This time you will classify these famous composers listed below according to the
historical period to which they belong. (Write this in a ½ crosswise sheet of paper)
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✓ Johann Sebastian Bach

✓ Adam de la Halle
✓ Giovanni Pierluigi da Palestrina
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✓ Thomas Morley
✓ Antonio Vivaldi
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✓ George Frederick Handel

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Medieval Period Renaissance Period Baroque Period

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Notes to the Teacher
Prepare sample audio clips for listening from
Medieval, Renaissance, and Baroque Period.
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What’s New
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I. Activity. Answer briefly. S
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Listen to the link below that features one of the main sections of the mass. “Gloria”
by Joasquin de Prez http://www.youtube.com/watch?v=XaiXCG0jHB8 Last viewed
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November 7, 2013.
✓ Note: For those who cannot access the internet, just keep in touch with your
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nearest chapel/church musicians, priests or anyone from your community who

is knowledgeable for this activity.
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Reflection: (Write your answer in a ½ crosswise sheet of paper)

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1. Are you familiar with the piece/song you just heard? If yes, then why? If not,
where do you think this piece could be heard? (Explain your answer)
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2. How did you feel while listening to it?

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3. How was the musical piece performed or sang?

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What is It
MUSIC OF THE MEDIEVAL PERIOD (700 – 1400)

Role of the Composer
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Adam de la Halle was a French-born trouvere, poet and musician. Adam’s
literary and musical works include chansons and jeux-partis (poetic debates) in ths
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style of the trouveres; polyphonic rondel and motets in the style of early liturgical
polyphony; and musical play, “Jeu de Robin et Marion”, which is considered the
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earliest surviving secular French play with music.
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He was a member of the Confrerie des jongleurs et bourgeois d’Arras.
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Famous Compositions
Includes: 1. Le Jeu de Robin et de Marion S
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2. La Chanson du roi de Sicile
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Setting(s)
1. Poetic Debates
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2. Secular French Play, France and Italy

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Audience
1. French
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2. Neapolitan People
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Some Related Art Form(s) Within The Era

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1. Byzantine Monumental Church Mosaics

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2. Betrayal of Christ Mosaic, Ravenna, S. Apollinare Nuovo

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MUSIC OF THE REANISSANCE PERIOD (1400 – 1600)

1.1. Role of the Composer
Giovanni Pierluigi da Palestrina is said to be the greatest master of Roman
Catholic Church music during the Renaissance period. Majority of his compositions
are sacred music. He was committed to sacred music and has a keen interest in
satisfying the desires of church leaders in the sixteenth century. Palestrina’s Pope
Marcellus Mass is held up as the perfect example of counter - reformation style.
Kyrie is part of the first two sections of the Pope Marcellus Mass.
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His career reflects his commitment to the music of the church. He received his
early training and spent the majority of his career in various churches in Rome,
including the pope’s chapel. He was as an organist and choir master at both the
Sistine Chapel and at St. Peter's which may have influenced his distinctively pure
and restrained style in musical compositions. Palestrina also served as an organist in
St. Agapito. His first book Masses became popular and was greatly appreciated by
Pope Julius III.
2.0
Famous Compositions
Includes: 1. Pope Marcellus Mass – Reformation Style
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2. Kyrie
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Setting(s)
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1. Mass, Rome
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Audience
1. Roman church-goers; Sestine Chapel and Saint Peter S
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Thomas Morley was born in Norwich, East England, the son of a brewer. He
was a singer in the local cathedral from his boyhood, and he became master of
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choristers there in 1583.Thomas Morley was the most famous composer of secular
music in his time. He was a singer in the local cathedral during his childhood and
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was believed to have studied music with William Byrd, an Elizabethan composer of
sacred music. He received his Bachelor’s degree in Oxford and became an organist
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at St. Paul’s in London.

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He tried imitating Byrd in his early works but veered towards composing
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madrigals that show a variety of color, form and technique. Most of his madrigals are
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light and easy to sing with some aspects of Italian style. His Musica Transalpina, a
collection of Italian madrigals fitted with English text, was published in 1588 by
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Nicholas Yonge. Shortly after, he began publishing his own collections of madrigals
and made significant contribution to the history of music.
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Famous Compositions
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Includes: 1. Fire, Fire, My Heart

2. Sing And Chant It
3. Fantasie
4. April In My Mistress Face
5. It Was A Lover And His Lass
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Setting(s)
1. Secular Music, England
Audience
1. Englishman
1. Mona Lisa and The Last Supper, Leonardo da Vinci
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2. Pieta and Sistine Chapel Ceiling, Michaelangelo
MUSIC OF THE BAROQUE PERIOD (1685 – 1750)
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Johann Sebastian Bach came from a family of musicians. He was taught to
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play violin by his father who was then the town musician in Eisanach. He entered
school at age 7 where he was taught religion and other subjects. He became
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orphaned at age ten. His brother, a church organist provided for him. Bach’s
beautiful soprano singing voice helped him to be accepted at a school in Luӥeberg.
A few years later, his voice changed and Bach focused his attention to playing the
S
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violin and harpsichord.
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Famous Compositions
Includes: 1. Concerto Grosso
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2. Masses
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3. Cantata
4. Fugues
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5. Works for Clavichord and Harpsichord

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Setting(s)
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1. Secular and Sacred Music, Europe

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Audience
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1. Germans
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Antonio Lucio Vivaldi , nicknamed il Prete Rosso ("The Red Priest")
because of his red hair, was an Italian Baroque composer, Catholic priest and a
virtuoso violinist. Recognized as one of the greatest Baroque composers, his
influence during his lifetime was widespread over Europe. Vivaldi is known mainly for
composing instrumental concertos, especially for the violin, as well as sacred choral
works and over forty operas. He entered the priesthood and was ordained in 1703.
Vivaldi is well known for giving the strings a major role in his compositions.
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Famous Composition(s)
Includes: 1. The Four Seasons
Setting(s)
Audience
1. Europians
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George Friedrich Händel was the second son from the second marriage of a
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pastor. Despite his father’s opposition, George secretly taught himself to play the
harpsichord. At age 7, he gained access to a church organ and started to play. A
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Duke heard him play and insisted on giving him a formal music education. Under
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Zachau, organist of Halle cathedral, he studied counterpoint, canon and fugue.
Händel is remembered for his operas and oratorios. Handel became
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England’s favorite composer. He had given English audiences music that in variety
and interest rivalled anything they could remember. Handel lost both of his eyesight S
in 1753. When he conducted his oratorio, ―Samson,” a few in the audience were
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unaware that he had lost his eyesight. The Messiah is Hӓndel’s most famous
creation and the very well known ―Hallelujah‖ chorus is part of Hӓndel’s Messiah.
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Famous Composition(s)
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Includes: 1. Samson
2. Messiah
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Setting(s)
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Audience
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1. Europians
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1. Mona Lisa and The Last Supper, Leonardo da Vinci

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2. Pieta and Sistine Chapel Ceiling, Michaelangelo
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What’s More
Fill in the blank. Write your answer on the blank space provided on each sentence
of the number in a ¼ sheet of paper.
2.0
1. Some famous works of Adam de la Halle includes Le Jeu de Robin et de Marion
and ________.
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2. ________ is part of the first two sections of the Pope Marcellus Mass.
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3. Thomas Marley’s ________ is a collection of Italian madrigals fitted with English
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text.
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4. J. S. Bach was taught to play violin by his father who was then the town musician
in ________. S
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5. ________ is the most famous piece of Antonio Vivaldi.
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What I Have Learned

I ON
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Activity I. Reporting:
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The students are assigned to have a written report accordingly by historical

period – Medieval, Renaissance, and Baroque in a whole sheet of paper. They shall
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choose one (1) composer in each period and let them summarize in paragraph form
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the performance practice – Explaining the role of the composer, setting,

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compositions, audience, including the kind of music they used.
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What I Can Do
“Secular Music” refers to any music not written for the church opposed to
Sacred or Non-Secular Music.
For your activity, you will be performing/singing one (1):
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a. Secular Music;
b. Sacred Music
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✓ Note: You should improvise appropriate accompaniment to your selected
songs. You could use local materials like plastic bottles, sticks, tin cans, etc.
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as an accompaniment, and the selection of songs is of your choice.
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Reflection: (Write your answer in a ½ crosswise sheet of paper)
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1. Based on your performance, explain briefly the distinction(s) S
between Secular Music and Non-Secular Music in terms of
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expression (emotion).
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2. How did you do your own creative version in doing the activity?
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(Explain how you improvised an accompaniment to your selected

song)
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Guided Rubric
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Music Relevance Musicality Total

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(50%) (50%) (100%)

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1. Secular
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2. Non-Secular
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Assessment
Multiple Choice. Write the letter of the correct answer in a ¼ sheet of paper.
1. He was known as Adam le Bossu.

A. Johann Sebastian Bach
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B. Adam de la Halle
C. Antonio Vivaldi
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D. Thomas Morley
2. He is said to be the greatest master of Roman Catholic Church music in the
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Renaissance Period.
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B. Giovanni Pierluigi da Palestrina
C. Thomas Morley
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D. Antonio Vivaldi
3. He was taught to play violin by his father who was then the town musician in
Eisanach in the Baroque Period. S
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B. Giovanni Pierluigi da Palestrina
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C. Thomas Morley
D. Antonio Vivaldi
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4. An Italian Baroque composer, Catholic priest and a virtuoso violinist known as

“The Red Priest”.
A. Thomas Morley
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B. George Friedrich Handel

C. Antonio Vivaldi
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D. Thomas Morley
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5. He tried imitating Byrd in his early works but veered towards composing madrigals
that show a variety of color, form, and technique in the Renaissance Period.
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A. Thomas Morley
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B. George Friedrich Handel

C. Antonio Vivaldi
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D. George Friedrich Handel

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Additional Activities
Other Art Forms and its History within the Era!
Direction: In a whole sheet of paper, give a short description on other Art Forms
from Medieval, Renaissance, and Baroque Era that relates to music. (Just one (1)
other art form per era)
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Answer Key
2.0
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The Four Seasons 5.
G. F. Handel 5. Eisanach 4.
A 5. J. S. Bach 4. Transalpina
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C 4. T. Morley 3. Musica 3.
A 3. A. De La Halle 2. Kyrie 2.
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B 2. Palestrina Roi de Sicile
B 1. G. P. De 1. La Chanson Du 1.
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Assessment What I Know What's More
S
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References
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Burkholder,Peter, et.al. ( ) Norton Anthology of Western Music. Vol.1: Ancient

to Baroque 5th Edition.
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Kamien, Roger ( ).Music Appreciation.9th Edition. The Hebrew University of

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Jerusalem
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Wright, Craig. (2013) The Essential Listening to Music, 6th Edition. Yale
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University
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Website
http://www.anthonyjosephlanman.com/?p=580&cpage=1#comment-18642
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www.onlinesheetmusic.com.
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2.0
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For inquiries or feedback, please write or call:
Department of Education – Region VII, Division of Cebu Province

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Office Address: IPHO Bldg., Sudlon, Lahug, Cebu City

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Telefax: (032) 255-6405
Email Address: cebu.province@deped.gov.ph
_______________________________________________________________________________________________________________________________________________________________

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9

Development Team of the Module

Lay-out Editor: Charmaine L. Juvahib

Moderator: Milanie M. Panique

Leah B. Apao, Ed.D.CESE - Asst. Schools Division Superintendent

Esther A. Funtalan, Ed.D. – Asst. Schools Division Superintendent

Cartesa M. Perico, Ed.D. – Asst. Schools Division Superintendent

Mary Ann P. Flores – CID Chief

Nenita G. Jaralve – EPS MAPEH

Printed in the Philippines by ________________________

Department of Education – Division of Cebu Province

Telefax: (032) 255-6405

Email Address: cebu.province@deped.gov.ph

Composers/Performers, and Audience)

during Medieval, Renaissance and

Welcome to the MUSIC 9 Alternative Delivery Mode (ADM) Module on Performance

Notes to the Teacher

This contains helpful tips or strategies

learners as they do the tasks included in the module.

Welcome to the Music 9 Alternative Delivery Mode (ADM) Module on Performance

This will give you an idea of the skills

What I Know This part includes an activity that aims

help you discover and understand new

concepts and skills.

What’s More This comprises activities for

understanding and skills of the topic.

exercises using the Answer Key at the

What I Have Learned This includes questions or blank

process what you learned from the

This section provides an activity which

Assessment This is a task which aims to evaluate

Answer Key This contains answers to all activities

included in the module.

gain deep understanding of the relevant competencies. You can do it!

1. listen perceptively to selected vocal and instrumental music of

Medieval, Renaissance and Baroque Periods;

composers/performers and audience) of Medieval, Renaissance and

4. improvise appropriate accompaniment to given Medieval and

✓ Johann Sebastian Bach

✓ George Frederick Handel

Medieval Period Renaissance Period Baroque Period

nearest chapel/church musicians, priests or anyone from your community who

Reflection: (Write your answer in a ½ crosswise sheet of paper)

2. How did you feel while listening to it?

3. How was the musical piece performed or sang?

MUSIC OF THE MEDIEVAL PERIOD (700 – 1400)

2. Secular French Play, France and Italy

Some Related Art Form(s) Within The Era

1. Byzantine Monumental Church Mosaics

2. Betrayal of Christ Mosaic, Ravenna, S. Apollinare Nuovo

MUSIC OF THE REANISSANCE PERIOD (1400 – 1600)

at St. Paul’s in London.

Includes: 1. Fire, Fire, My Heart

MUSIC OF THE BAROQUE PERIOD (1685 – 1750)

5. Works for Clavichord and Harpsichord

1. Secular and Sacred Music, Europe

1.2. Role of the Composer

1. Secular and Sacred Music, Europe

Some Related Art Form(s) Within The Era

1. Mona Lisa and The Last Supper, Leonardo da Vinci

2. Pieta and Sistine Chapel Ceiling, Michaelangelo

What I Have Learned

The students are assigned to have a written report accordingly by historical