LESSON 1

PHYSICAL EDUCATION: REVISITING PHYSICAL FITNESS TESTS

INTRODUCTION
In Grades 7-9, various fitness-related activities were discussed to provide
enough knowledge, values, and skills in developing one’s fitness. As you step on the
10th Grade of Physical Education, it is expected that at this point in your life as a
student, you have the ability to select an appropriate physical activity that will help you
manage your active lifestyle.

“Physical Fitness Testing is not an end itself. It is part of the process to create
educated Filipino citizenry accurately aware of the importance of holistic wellness –
fitness of the body, mind, and spirit.” (Dr. A.H. Mequi, Physical Fitness Consultant). In
these times of pandemic, “wellness lifestyle” among individuals, especially those who
are minors, the aged, and those who are physically weak, are essential for survival.
As students, the knowledge, attitudes, and skills of physical fitness will help them
and the people around them to achieve fitness and wellness of lifestyle not only while
discussing during the lesson but also throughout their daily lives.

COMPONENTS OF PHYSICAL FITNESS

The measurable components that influence one’s physical fitness are composed of two
groups: Health-related components and Skill-related components that are associated to
mostly individual kinaesthetic intelligence or more performance-based skills.

A. HEALTH – RELATED FITNESS

- The ability to perform daily tasks associated with the disease prevention and
functional health.

1. Body composition – the relative percentage of body fact compared with lean body
mass.
2. Muscular Strength – the amount of force that can be produced by a single
contraction of a muscle.
3. Muscular Endurance – the ability of a muscle group to continue muscle contraction
over a length of time.
4. Flexibility – the ability to use one’s joints fully in a normal range of motion.
5. Cardiorespiratory Endurance – the ability of the heart and lungs to function
efficiently while one is doing strenuous activities for a long period of time.

B. SKILL – RELATED FITNESS

 - The ability of the human body to perform physical tasks efficiently for a specific
sport.
1. Speed – the ability to perform a movement or cover a certain distance in a shorty
period of time.
2. Reaction Time – the amount of time to move once you realize the need to act.
3. Agility – the ability to change the position of one’s body quickly and to control one’s
body movements.
4. Balance – the ability to maintain equilibrium while you are stationary or moving.
5. Coordination – the ability to use the body parts and sense together to produce
smooth and efficient movements.
6. Power – the product of strength and speed.
 LESSON 2
PHYSICAL EDUCATION: BASKETBALL AND FUTSAL

Overview:
In this lesson, the students are given the venue to perform fundamental hand signals
of Basketball and Futsal and broaden their understanding in the application of
physical fitness components into the skills applied during the game.

Learning Outcomes:
At the end of this lesson, the students can:
1. identify the physical fitness components used in Basketball and Futsal skils;
2. execute the fundamental hand signals of Basketball and Futsal;
3. relate the importance of knowing the basics of Futsal and Basketball to their day-to-
day life experiences; and
4. assess the progress of their physical fitness.

Materials Needed:
 Module
 Pen and Paper
 Camera, Pictures, Calculator, and BMI table

Duration: 3 hours

Learning Content:
INTRODUCTION
Back in the old days, due to lack of exposure to professional sports, the games
commonly played by children of the Philippines are very simple. Patintero, Luksung
Baka, Chinese Garter, and the most popular game was Langit-Lupa. In Philippines,
these are called “Larong Kalye” or street games. In here, the children had found a
recreation to train them physically and mentally to be equipped in professional sports.
Over time, basketball and other team sports were able to captivate every Filipino’s
heart. It is the most played and the most popular sport for the Filipinos.
 BASKETBALL
Brief History
Basketball, game played between two teams of five players each on a rectangular court,
usually indoors. Each team tries to score by tossing the ball through the opponent’s
goal, an elevated horizontal hoop and net called a basket.
The only major sport strictly of U.S. origin, basketball was invented by James Naismith
(1861–1939) on or about December 1, 1891, at the International Young Men’s Christian
Association (YMCA) Training School (now Springfield College), Springfield,
Massachusetts, where Naismith was an instructor in physical education.
For that first game of basketball in 1891, Naismith used as goals two half-bushel peach
baskets, which gave the sport its name. The students were enthusiastic. After much
running and shooting, William R. Chase made a midcourt shot—the only score in that
historic contest. Word spread about the newly invented game, and numerous
associations wrote Naismith for a copy of the rules, which were published in the January
15, 1892, issue of the Triangle, the YMCA Training School’s campus paper.

Skills in Playing Basketball

The Two Primary Categories of Basketball Skills:
A. Offensive Skills
1. Shooting can be defined as putting the ball in the basket to score points. In this
loose definition, layups, dunks, mid-range jump shots, three-pointer, and free throws
are all part of shooting.

2. Passing is when a player throws the ball to another player on his team/ if that pass
directly led to a basket, it is called an assist. It can be classified as:
a. Bounce pass
b. Overhead pass
c. Drop pass
d. Baseball pass, etc.

3. Dribbling or ball hadling is the method of bouncing the ball up and down the floor
with one hand to advance it. Driblling with both hands more than once is a violation
(called a double dribble or dribbling violation. Ehen dribbling it is vital to protect that
ball from the opponent, whether by using your body or your free arm as a shield.
4. Offensive Rebounding are rebounds that you collect from the misses of your own
team.

B. Defensive Skills
1. Stealing is taking the ball away from an offensive player. If the offensive player is
dribbling the ball and you tap it free, whether yourself or a teammate, that can be
considered a steal. Additionally, steal is credited to a defensive player who
anticipated a pass and then recovered the ball for himself or to someone from his
team.

2. Blocking is one of the rarest stats of them all. It happens when a defensive player
swats a shooting attempt from an offensive player, preventing that ball’s trajectory to
the basket.

3. Defensive rebounding is collecting and securing a missed shot from an opponent.

In the Philippines, the Philippine Basketball Association was a league founded in April
1975. The national team, Gilas Pilipinas, competes internationally for the country.
James Yap is “the” athlete of today next and next only to Robert Jaworski who is
considered to be a “living legend” when it comes to abilities. Yap plays for the San
Mig Coffee Mixers as a shooting guard but can also play as a forward, for these, he is
considered to be the most complete player today in PBA.

Another popular sport in the country is boxing which has produced 38 major world
champions in various weight categories. The sport also popularized after the
achievements of Manny Pacquiao in the profession. He was ranked 10th in the world
and 4th in Asia. The Philippines also produced hall of famers locally and worldwide,
like Pancho Villa, Flash Elorde, and Cefering Garcia.

UAAP and NCAA competitions are much awaited by the Filipinos especially the
younger generation. These events are a competition between the big universities and
colleges of the Phillippines. UAAP was established in 1938 while NCAA was
established in 1924.

Below are details of sports, sporting events and sports people related to Philippines.
Is there something missing? If you know of something that should be listed here,
please let us know.

The 13 Original Rules of Basketball

After brainstorming some new ideas, Naismith developed basketball’s original 13
rules and, consequently, the game of basketball.
1. The ball can be thrown in any direction with one or both hands.

2. The ball can be batted in any direction with one or both hands, but never with the
fist.

3. A player cannot run with the ball. The player must throw it from the spot on where
he catches it.

4. The ball must be held in or between the hands. The arms or body must not be used
for holding it.

5. No shouldering, holding, pushing, striking, or tripping an opponent.

6. A foul is striking the ball with the fist.

7. If a side makes three consecutive fouls, it counts as a goal for the opponents.

8. A goal shall be made when the ball is thrown or batted from the ground into the
basket and stays there.

9. When the ball goes out of bounds, it shall be thrown into the field and played by the
first person touching it.

10. The umpire shall be the judge of the men and shall note the fouls and notify the
referee when three consecutive fouls have been made.

11. The referee shall be the judge of the ball and decide when it is in play in bounds,
to which side it belongs, and shall keep the time.

12. The time shall be two 15-minute halves with a five-minute rest between.

13. The side scoring the most goals in that time shall be declared the winner.

Scoring
Originally, a successful goal was counted as one point, and one point was also
given to a team anytime three consecutive fouls were called on the opponent. Free
throws were first introduced in 1894. Both a made field goal and a made free throw
were counted as one goal. In 1896, rules were changed to count a made field goal as
two points. In 1961 the short lived American Basketball League played with the three
point shot. In 1967, the three point shot was introduced into International basketball
by FIBA. The three point shot was adopted by the National Basketball Association
(NBA) in 1977 and by the National Collegiate Athletic Association (NCAA) in 1980.

-13-original-rules-of-basketball

FUTSAL
Futsal is FIFA's official indoor soccer game which is, essentially, a scaled down version
of outdoor soccer played indoors. It is a small sided game (5v5) played on a smaller
field (roughly basketball court sized) with a smaller (size 3-4) ball. Futsal is played with
touchline boundaries. There are no walls in play. This is the game that outdoor soccer
players around the globe play when they are indoors to refine and maintain their control
skills and touch.
It is superior to walled soccer in terms of developing better skills and technique. In
traditional American walled soccer, players regularly whack the ball (and sometimes
their bodies) against the boards which promotes improper technique and too often
rewards errant play.
In Futsal, players are constantly reminded to play the same quality control game that is
required for success in the outdoor game.

Brief History of Futsal

The origin of Futsal can be traced back to Montevideo, Uruguay, in 1930 when Juan
Carlos Ceriani devised a five-a-side version of soccer for youth competition in YMCAs.
The game is played on basketball-sized courts, both indoors and out without the use of
sidewalls. The term FUTSAL is the international term used for the game. It is derived
from the Spanish or Portuguese word for "soccer", FUTbol or FUTebol, and the French
or Spanish root word for "indoor" or "room", SALon or Salle or SALa. Taken literally,
Futbol means 'foot and ball' (i.e. playing outdoors) and Futsal indicates 'Futbol in room'
(i.e. playing indoors).

Futsal Skills
1. Ball Control Skill
This skill refers to the act of keeping the ball under control without letting it fall to the
ground. This skill is popularly as kick-ups.

2. Ball Reception/Trapping Skill

It is the act of receiving the ball in the Futsal. The trapping can be performed with any
part of the body eligible by the Futsal Rules, such as feet.

3. Ball Carrying Skill

Ball carrying is the act of carrying the ball on your possession through the pitch. It is
possible to carry the ball in a straight line or changing direction (zigzag).

4. Ball Pass Skill

This is the act of sending the ball to a teammate.

5. Kick or Shooting Skill

This is the act of sending the ball towards to goal of the opposing team with the
intention of scoring a goal.

6. Head Skill
It is the act of heading the ball. It can be used defensively to stop an opponent’s attack,
to pass, and/or in the form of kick/Finish in order to score a goal.

7. Dribble Skill
This skill involves two other skills: Trapping and Carrying. Dribbling is the act of passing
through a defender by trapping and carrying the ball.

8. Body Dribbling Skill

It is different from dribble because it is performed without trapping the ball, and it is also
known as body dribble/body feint. It is a creative skill, with a change of direction, not
using the ball, performed in order to deceive the opponent, aiming to reach or receive
the ball.
Basic Rules of Futsal
A. General Rules
 Teams may call one one-minute timeout per half (when in possession of ball, ball out
of play).
 There is no overtime, injury time or stoppage time.
 Teams are comprised of four outfield players and one goalkeeper.
 The goalkeeper must wear a different color jersey than the outfield players.
 There is no offsides in futsal.

B. Substitutions
All substitutions are on the fly, this includes goalkeeping substitutions. Referees will not
stop play for goalkeeping substitutions. A substitute may not enter the pitch until the
player leaving the pitch leaves through the substitution zone in front of his teams’
bench. Any substitute who enters the pitch before the player being replaced has
completely left the field of play may be shown a yellow card. All substitutions must take
place through the substitution zone in front of his teams’ bench -- not at the half-way
line.

Both teams will switch benches (and ends) at the beginning of halftime, ensuring that all
substitutions take place in the defensive half.

C. Restarts
Kickoffs: A goal may be scored directly against the opponents from the kick-off. The
ball is in play when it is kicked and clearly moves. Tapped balls are not in play – the ball
must move.

Kick-ins: are indirect. The ball must be placed on the line and the kick must be taken
within 4 seconds. (A kick-in that goes directly in the opposing goal is a goal clearance
for the opposing team. A Kick-in that goes directly in the defensive goal is a corner kick
of the opposing team.) If the kick-in does not enter the pitch or if the kick is not taken
within 4 seconds the kick-in is taken by the opposing team.
Goal Clearances: are taken when the ball wholly crosses the goal line and not under
the crossbar and between the goalposts and after being touched last by the attacking
team. The ball is thrown or released from any point within the penalty area by the
goalkeeper of the defending team. The ball is in play when it is thrown or released and
clearly moves. The ball must be put into play within four seconds of the team being
ready to put the ball into play or the referee signalling that the team is ready to put it into
play. Opponents must be outside the penalty area until the ball is in play.
Corner Kicks: are direct. The ball must be placed directly on the corner arc and the
kick must be taken within 4 seconds. If the kick is not taken within 4 seconds the restart
becomes a goal clearance for the opposing team.

Free Kicks: may be indirect or direct. The ball must be stationary before the kick may
be taken.

Penalty Kicks: are taken from the penalty spot and must be taken by a clearly
identified kicker. Defenders may not be nearer to the ball than 16 feet and even or
behind the ball when the kick is taken.

D. Fouls and Misconduct

Indirect Free Kicks: When a player plays in a dangerous manner, impedes an
opponent, prevents the goalkeeper from releasing the ball with her hands, goalkeeper
takes more than 4 seconds to release the ball when in possession in his own half, plays
the ball again within his own half after releasing the ball and the ball doesn’t touch an
opponent or has gone out of play, or commits any offense for which play is stopped to
caution or eject a player.

Direct Free Kicks: When a player kicks an opponent, tackles an opponent, trips an
opponent, jumps at an opponent, charges an opponent, strikes an opponent, pushes an
opponent, holds an opponent, spits at an opponent or handles the ball deliberately.

Yellow Card / Caution: The offending player is shown a yellow card. If a player is
shown two yellow cards in a match, he is shown a red card.
Red Card / send-off: The offending team plays with one less player for two full game
minutes or unless scored upon before the two-minute penalty expires. The offending
player serves a minimum one-match suspension.
Accumulated Fouls: All direct free kick fouls are recorded on the scoresheet and on
the scoreboard. If one team accumulates 6 or more direct free kick fouls in one half, the
opposing team will take a direct free kick without a wall. If the foul occurs farther from
the attacking goal than the second penalty spot, the Direct Free Kick Without a Wall is
taken from the second penalty spot. If the foul occurs nearer to the attacking goal than
the second penalty spot (but outside the penalty area, of course), the attacking team
may choose whether to take the Direct Free Kick Without a Wall from the second
penalty spot or from the spot of the foul. All Direct Free Kicks Without a Wall must be
kicked with the intention of scoring a goal by a clearly identified kicker. The defending
team may not make a wall and may not be nearer to the ball than 16 feet and even or
behind the ball when the kick is taken. The goalkeeper may be off the goal-line but may
not be nearer than 16 feet from the ball. Accumulated fouls are reset to zero at the
beginning of the second half and carry over into extra-time if being played.

Second Penalty Spot: 30 feet from goal-line and the center of the goal

Penalty Spot: 20 feet from goal-line and the center of the goal and placed at the top of
the penalty area line.

Advantage: Advantage is applied in Futsal. Direct free kick foul will count as
accumulated fouls if advantage is applied even if play is not stopped by the referees. If
the referee gestures with both arms, the foul was a direct free kick foul and will be
counted accordingly. If the gesture is with one arm, the free kick would have been
indirect and will not count as an accumulated foul.

The Goalkeeper
 Must wear a different color shirt.
 He/She may wear long pants and/or other padding as deemed safe by the match
referee.
 May receive a kick-in directly.
 May kick the ball directly over the half-way line.
 May score directly with his/her feet during the run of play.
 May not possess the ball for more than four seconds in his/her own half.
 May throw the ball directly across the half-way line.
 May not score a goal by using the hands (cannot throw or hit the ball directly into the
goal)
 Cannot touch the ball again in any way within his own half after releasing the ball
into play unless an opponent has touched it or it has gone out of play.
 LESSON 3
HEALTH: CONSUMER HEALTH INFORMATION AND SERVICES

INTRODUCTION
Buying health products and services were not the only basis for consumer health.
This also involves knowing facts and having a deeper understanding that enable people
to make wise choices. Health information, health products, and health services are all
related to bringing consumer health. Health information is important in deciding what
health products and health services to acquire. Health service personnel are also
sources of health information. These three factors are important to consider in
consumer health.

HEALTH INFORMATION
Health information is everything that is seen, read, or heard in relation to human
and community health. A wise consumer needs to carefully evaluate health information
or else they will fall a victim to fake or substandard health products. Knowledge on
these information helps in choosing which can be trusted, which is fake, or which
advertisement is risky. It can also save money and time, and safeguard the health
consumers.

Below are the Trusted Sources of Health Information:

 Medical and Health Professionals
 Health-related government agencies
 LGUs and NGOs endorsed by the government to assist consumers.
 National voluntary agencies (e.g. Red Cross)
 Reliable websites (sites ending in .gov, .edu, and .org)

Sources of Risky Health information:

 Superstitious beliefs
 Paid health advertisements
 Claims based on unreliable sources
 Personal options and incomplete information
 Quack or pseudo healers

I. HEALTH CONSUMERS
 Health consumers are people who examine health information in products and
services. The consumer is the one who purchases and utilizes the goods and services.

Philippine Agencies Protecting Consumer Welfare

In the wide scope of health care, ther are government agencies and private
organizations that help protect consumers. Government agencies include Food and
Drug Administration (FDA), Department on Health (DOH), and Department of Trade and
Industry (DTI). The roels of these government agencies are:
 Implement laws protecting consumers
 Make researches and test the quality of products
 Give guidelines fro the quality of products.

Eight (8) Basic Consumer’s Rights

On 15th March 1962, President John F. Kennedy championed consumer rights to
the US Congress. Consumer rights are privileges that a consumer is guaranteed. These
rights make individuals as smart consumers and prevent them from being deceived by
inaccurate information, thus, protecting their health as well as others.
The eight consumer rights are:
1. The right to satisfaction of basic needs – to have access to basic, essential goods
and services such as adequate food, clothing, shelter, health care, education, public
utilities, water and sanitation.

2. The right to safety – to be protected against products, production processes and

services that are hazardous to health or life.

3. The right to be informed – to be given the facts needed to make an informed choice,
and to be protected against dishonest or misleading advertising and labelling.

4. The right to choose – to be able to select from a range of products and services,
offered at competitive prices with an assurance of satisfactory quality.

5. The right to be heard – to have consumer interests represented in the making and
execution of government policy, and in the development of products and services.

6. The right to redress – to receive a fair settlement of just claims, including

compensation for misrepresentation, shoddy goods or unsatisfactory services.
7. The right to consumer education – to acquire knowledge and skills needed to make
informed, confident choices about goods and services, while being aware of basic
consumer rights and responsibilities and how to act on them.

8. The right to a healthy environment – to live and work in an environment that is non-
threatening to the well-being of present and future generations.

Consumer Act of the Philippines

Under the enacted "Consumer Act of the Philippines," the State shall implement
measures to achieve the following objectives:
1. Protection against hazards to health and safety;
2. Protection against deceptive, unfair, and unconscionable sales, acts, and practices;
3. Provision of information and education to facilitate sound choices and to properly
exercise the rights of the consumer;
4. Provision of adequate rights and means of redress; and
5. Involvement of consumer representatives in the formulation of social and economic
policies.

HEALTH PRODUCTS AND ITS RISKS

These include medicines, medical equipment, and related devices. Health
products help in relieving symptoms, aid in curing illnesses, and provide cosmetic
effects. But the sad fact about it is that many of these are not needed, don’t provide the
advertised effect, and have the potential to harm one’s health.

Below are some classifications of health products:

1. Over – the – counter (OTC) Drugs
Over-the-counter drugs are medicines sold directly to a consumer without a
requirement for a prescription from a healthcare professional, as opposed to
prescription drugs, which may be supplied only to consumers possessing a valid
prescription.
Below are some examples of over-the-counter (OTC) Drugs and its
corresponding health risks:
Product/s Health Risks

Pain Relievers Ulcer, kidney damage (with high dosage)

(e.g. aspirin, ibuprofen)

Fever/pain relievers If taken in high doses, can cause bleeding and

liver pain. These should not be taken in an empty
 (e.g. Acetaminophen) stomach.

Nasal sprays for congestions Prolonged use can cause blood vessels in the
nose to swell and can worsen congestion
(Rebound Effect), bleeding, or worst, loss of sense
of smell

Laxatives (for constipation) Frequent use destroys flora in the internal tract,
making constipation even worse.

2. Cosmetics Products
Consumers must be vigilant in buying and in using cosmetic products since some have
little effect but due to advertising campaigns and misconceptions, they are extensively
used.
Below are some Categories of Cosmetic Products and its effect/s:
Product/s Effects

Skin Care Products Skin rejuvenators have never shown efficacy in changing skin
properties.
 Moisturizers prevent the skin from drying only a limited period
of time.
 Deodorants and anti-perspirants help control body odor but
no product can prevent sweating in extremely hot weather or
during exercise.
Hair Care Products  Shaving and tweezers might remove unwanted hair but some
danger of infection might occur when adjacent skin is not
clean.
 Chemical products are usually safe but there is always the
possibility of skin reactions, irritations, and infections.
Oral Care Products  These include toothpastes, mouthwashes, and gargles.
 It is unwise to purchase toothpaste with whiteners because
they may contain abrasive elements that damage the teeth.
 Mouthwashes and gargles do little to eliminate bad odor or
treat a sore throat but excessive use of mouthwash can dry
the mucous membranes, making the throat even more
irritated.

II. HEALTH SERVICES

 Activities that are done to assess, maintain, or improve the individual’s health can
be considered as health services. These also include the diagnosis and the treatment of
illnesses, injuries, or disabilities.

Health Professionals
These are the professional people who are engaged in providing solutions to
health-related problems.

MEDICAL SPECIALISTS

Anaesthesiologist Administration of anesthesia in surgery

Cardiologist Coronary artery and heart disease

Dermatologist Skin conditions

Family Physician General care physician

Gynaecologist Female reproductive system

Internalist Treatment of diseases in adults

Obstetrician Pregnancy, labor, child birth

Ophthalmologist Eye disease and treatment

Primary care Physician General health and medical care

Surgeon Treats disease by surgery

DENTAL SPECIALISTS

Dentist General care of the teeth and oral cavity

Endodontist Diseases of tooth below gum line and root canal

therapy

Orthodontist Teeth alignment, malocclusion

Periodontist Diseases supporting structures

Prosthodontist Construction of artificial appliances for the mouth

MENTAL HEALTH PRACTITIONERS

Psychologist

Psychiatrist
 The Child and Adolescent Psychiatrist

OTHER HEALTH PROFESSIONALS

Nurse

Midwife

Etc.

Ways to Buy Health Products and Services Intelligently

1. Read. Read the labels and look for information pertaining to the nutritional quality of
food. Read care-fully and critically all health – related advertisements. Read the local
laws and regulations that will protect you as a consumer.

2. Compare. Compare the products and services and judge for yourself which among the
products are useful, beneficial, and effective. E.g. buy generic drugs when they are
available because they are also effective and comparably cheaper.

3. Inquire. Ask direct questions to sales personnel if there are things about the product
that are not clear to you before buying it.
 LESSON 5
MUSIC: 20TH CENTURY DISTINCT MUSIC STYLES
INTRODUCTION
The start of the 20th century saw the rise of distinct musical styles that reflected a move
away from the conventions of earlier classical music. These new styles were:
impressionism, expressionism, neo-classicism, avant garde music, and modern
nationalism.

The distinct musical styles of the 20th century would not have developed if not for the
musical genius of individual composers such as Claude Debussy, Maurice Ravel,
Arnold Schoenberg, Bela Bartok, Igor Stravinsky, Sergei Prokofieff, and George
Gershwin stand out as the moving forces behind the innovative and experimental styles
mentioned above. Coming from different nations—France, Austria, Hungary, Russia, and
the United States— these composers clearly reflected the growing globalization of
musical styles in the 20th century.

20TH CENTURY DISTINCT MUSIC STYLES

1. IMPRESSIONISM
Impressionism made use of the whole-tone scale. It also applied suggested, rather than
depicted, reality. It created a mood rather than a definite picture. It had a translucent and
hazy texture; lacking a dominant-tonic relationship. It made use of overlapping chords,
with 4th, 5th, octaves, and 9th intervals, resulting in a non-traditional harmonic order
and resolution.

Composer Claude Debussy translated “visual ambiguity” to music by uprooting time.

There are no hard edges. The music is dreamy. It’s often hard to find the beat.

Similar to Impressionistic arts, Impressionist music also conveys moods, scenes, and
emotions rather than detailed stories. This style of classical music was written around
the same time (late 19th century) and uses “color” or timbre through different textures,
harmonics, and orchestrations to arouse feelings and create atmosphere.

Impressionist music often has an evocative title. Impressionism was an attempt not to
depict reality, but merely to suggest it. It was meant to create an emotional mood rather
than a specific picture.

In Impressionism:
 The sounds of different chords overlapped lightly with each other to produce new
subtle musical colors.
 Chords did not have a definite order and a sense of clear resolution.
 Lack of a tonic-dominant relationship which normally gives the feeling of finality to a
piece, moods and textures, harmonic vagueness about the structure of certain
chords, and use of the whole-tone scale.
 Most of the impressionist works centered on nature and its beauty, lightness, and
brilliance.
 You’ll hear the lowest notes on the piano played in conjunction with the highest
notes.

Impressionist Composers
The Impressionist composers commonly took their inspiration from many of the same
places that Impressionist painters did: nature. Impressionist composers paid attention
to how music vibrated in the body – feeling the music was almost as important as
hearing it.

CLAUDE DEBUSSY (1862–1918)

“Father of the Modern School of Composition”
He was the primary exponent of the impressionist movement and
the focal point for other impressionist composers. He changed the
course of musical development by dissolving traditional rules and conventions
into a new language of possibilities in harmony, rhythm, form, texture, and
color. He gained a reputation as an erratic pianist and a rebel in theory and
harmony. He added other systems of musical composition because of his musical
training.

His musical compositions total more or less 227 which include orchestral music,
chamber music, piano music, operas, ballets, songs, and other vocal music. The
creative style of Debussy was characterized by his unique approach to the various
musical elements. Debussy’s compositions deviated from the Romantic Period and is
clearly seen by the way he avoided metric pulses and preferred free form and
developed his themes.

Debussy’s western influences came from composers Franz Liszt and Giuseppe Verdi.
From the East, he was fascinated by the Javanese gamelan that he had heard at the
1889 Paris Exposition. The gamelan is an ensemble with bells, gongs, xylophone, and
occasional vocal parts which he later used in his works to achieve a new sound.

MAURICE RAVEL (1875–1937)

Joseph Maurice Ravel’s compositional style is mainly
characterized by its uniquely innovative but not atonal style of
harmonic treatment. It is defined with intricate and sometimes
modal melodies and extended chordal components. It demands
considerable technical virtuosity from the performer which is the character, ability, or
skill of a virtuoso—a person who excels in musical technique or execution.
The harmonic progressions and modulations are not only musically satisfying but also
pleasantly dissonant and elegantly sophisticated. His refined delicacy and color,
contrasts and effects add to the difficulty in the proper execution of the musical
passages. These are extensively used in his works of a programmatic nature, wherein
visual imagery is either suggested or portrayed. Many of his works deal with water in
its flowing or stormy moods as well as with human characterizations.

Comparative Styles of Debussy and Ravel

As the two major exponents of French Impressionism in music, Debussy and Ravel had
crossed paths during their lifetime although Debussy was thirteen years older than
Ravel. While their musical works sound quite similar in terms of their harmonic and
textural characteristics, the two differed greatly in their personalities and approach to
music. Whereas Debussy was more spontaneous and liberal in form, Ravel was very
attentive to the classical norms of musical structure and the compositional
craftsmanship. Whereas Debussy was more casual in his portrayal of visual imagery,
Ravel was more formal and exacting in the development of his motive ideas.

ARNOLD SCHOENBERG (1874–1951)

Schoenberg’s style was constantly undergoing development.
From the early influences of Wagner, his tonal preference gradually
turned to the dissonant and atonal, as he explored the use of
chromatic harmonies. Although full of melodic and lyrical interest,
his music is also extremely complex, creating heavy demands on the listener. His
works were met with extreme reactions, either strong hostility from the general public
or enthusiastic acclaim from his supporters.

IGOR STRAVINSKY (1882–1971)

Stravinsky’s early music reflected the influence of his teacher and his
skillful handling of material and rhythmic inventiveness went beyond
anything composed by his Russian predecessors. He added a new
ingredient to his nationalistic musical style. A new level of dissonance
was reached and the sense of tonality was practically abandoned.
Asymmetrical rhythms successfully portrayed the character of a solemn pagan rite.
Stravinsky adapted the forms of the 18th century with his contemporary style of writing.
Despite its “shocking” modernity, his music is also very structured, precise, controlled,
full of artifice, and theatricality. His works feature shifting rhythms and polytonality, a
signature device of the Stravinsky.
Stravinsky’s musical output approximates 127 works, including concerti, orchestral music,
instrumental music, operas, ballets, solo vocal, and choral music.

2. PRIMITIVISM
Primitivism in music rarely suggests lack of conventional technique. Rather, it seeks to
express ideas or images related to antiquity or to some "primitive" culture or attitude.
Primitivism can also be understood as a late development of 19th century nationalism.

Primitivism, unlike Impressionism, uses musical elements that are well-defined and
clear. Primitivistic music (note the adjective; this is not about "primitive" music) is tonal,
but the tonality is not achieved through expectation of resolution but through the
asserting of one note as more important than others. New sounds are synthesized from
old ones by juxtaposing two simple events to create a more complex new event.

Primitivism has links to EXOTICISM (use of materials from other cultures),

NATIONALISM (use of materials indigenous to specific countries), and ETHNICISM
(use of materials from European ethnic groups). Primitivism eventually evolved into
Neo-classicism.

Primitivistic Composer
BELA BARTOK (1881–1945)
As a neo-classicist, primitivist, and nationalist composer, Bartok used
Hungarian folk themes and rhythms. He also utilized changing meters
and strong syncopations. His compositions were successful because of their rich
melodies and lively rhythms.
He eventually shed their influences in favor of Hungarian folk and peasant themes.
These later became a major source of the themes of his works. Bartok is most famous
for his Six String Quartets – the six works combine difficult and dissonant music with
mysterious sounds.
His musical compositions total more or less 695 which include concerti, orchestral music,
piano music, instrumental music, dramatic music, choral music, and songs.

3. NEO-CLASSICISM
Neo-classicism was a partial return to a classical form of writing music with carefully
modulated dissonances. It made use of a freer seven-note diatonic scale.
A prominent part of Western music between the two world wars, a time when stability
and tradition were generally more valued than experimentation and avant-garde views.
It grows from Primitivism, and is a reaction to the newness of Impressionism and
Expressionism and the excesses of late Romanticism, which was still active. It tends to
be absolute music, consciously based upon traditions of the Common Practice Period,
particularly the Baroque and Classical eras.

Characteristic features include:

 balance
 objectivity
 economy
 clarity
In spite of its obvious intent of classical parody, with frequent musical quotation, Neo-
classic music still sounds fresh and new, never relying on exact mimicry of older styles.

Neo-classicist Composers
SERGEI PROKOFIEFF (1891–1953)
Sergei Prokofieff is regarded today as a combination of neo-classicist,
nationalist, and avant garde composer. His style is uniquely
recognizable for its progressive technique, pulsating rhythms,
melodic directness, and a resolving dissonance.
He became prolific in writing symphonies, chamber music, concerti, and
solo instrumental music. He also wrote Peter and the Wolf, a lighthearted orchestral
work intended for children, to appease the continuing government crackdown on avant
garde composers at the time.
Prokofieff’s musical compositions include concerti, chamber music, film scores, operas,
ballets, and official pieces for state occasions.

FRANCIS POULENC (1899–1963)

Francis Jean Marcel Poulenc was a member of the group of young
French composers known as “Les Six.” He rejected the heavy romanticism of
Wagner and the so-called imprecision of Debussy and Ravel. His
compositions had a coolly elegant modernity, tempered by a
classical sense of proportion.
Poulenc’s choral works tended to be more somber and solemn, with its monophony,
simple harmony, and startling dissonance; carried a Baroque solemnity with a prevailing
style of unison singing and repetition.
Poulenc’s musical compositions total around 185 which include solo piano works, as
well as vocal solos, known as melodies, which highlighted many aspects of his
temperament in his avant garde style.

Other members of “Les Six”

 Georges Auric (1899–1983) wrote music for the movies and rhythmic music with
lots of energy.
 Louis Durey (1888–1979) used traditional ways of composing and wrote in his own,
personal way, not wanting to follow form.
 Arthur Honegger (1882–1955) liked chamber music and the symphony. His popular
piece Pacific 231 describes a train journey on the Canadian Pacific Railway.
 Darius Milhaud (1892–1974) was a very talented composer who wrote in several
different styles. Some of his music uses bitonality and polytonality (writing in two or
more keys at the same time).
 Germaine Tailleferre (1892–1983) was the only female in the group. She liked to
use dance rhythms. She loved children and animals and wrote many works about
them. She also wrote operas, concerti, and many works for the piano.

4. AVANT GARDE MUSIC

The avant garde style was associated with electronic music and dealt with the
parameters or dimensions of sound in space. It made use of variations of self-contained
note groups to change musical continuity, and improvisation, with an absence of
traditional rules on harmony, melody, and rhythm.
Closely associated with electronic music, the avant garde movement dealt with the
parameters or the dimensions of sound in space. The avant garde style exhibited a new
attitude toward musical mobility, whereby the order of note groups could be varied so
that musical continuity could be altered. Improvisation was a necessity in this style, for
the musical scores were not necessarily followed as written. For example, one could
expect a piece to be read by a performer from left to right or vice versa. Or the
performer might turn the score over, and go on dabbling indefinitely in whatever order
before returning to the starting point.
The unconventional methods of sound and form, as well as the absence of traditional
rules governing harmony, melody, and rhythm, make the whole concept of avant garde
music still so strange to ears accustomed to traditional compositions.

Avant Garde Composers

GEORGE GERSHWIN (1898–1937)
He composed music which incorporated jazz rhythms with classical
forms. In spite of his commercial success, Gershwin was more fascinated
with classical music. He was influenced by the group of contemporary
French composers known as “Les Six” that would shape the
character of his major works— half jazz and half classical.
He is a true “crossover artist,” in the sense that his serious compositions remain highly
popular in the classical repertoire, as his stage and film songs continue to be jazz and
vocal standards. Considered the “Father of American Jazz,” his “mixture of the
primitive and the sophisticated” gave his music an appeal that has lasted long after his
death.
His musical compositions total around 369 which include orchestral music, chamber
music, musical theatre, film musicals, operas, and songs.

LEONARD BERNSTEIN (1918–1990)

Leonard Bernstein endeared himself to his many followers as a
charismatic conductor, pianist, composer, and lecturer. His big break
came when he was asked to substitute for the ailing Bruno Walter in
conducting the New York Philharmonic Orchestra in a concert on
November 14, 1943. The overnight success of this event started his reputation as a
great interpreter of the classics as well as of the more complex works of Gustav Mahler.
Bernstein’s philosophy was that the universal language of music is basically
rooted in tonality. Although he never relinquished his musical values as a composer,
he later turned to conducting and lecturing in order to safeguard his principles as to
what he believed was best in music. He achieved pre-eminence in two fields: conducting
and composing for Broadway musicals, dance shows, and concert music.
His musical compositions total around 90.
PHILIP GLASS (1937– )
He explored the territories of ballet, opera, theater, film, and even
television jingles. His distinctive style involves cell-like phrases
emanating from bright electronic sounds from the keyboard that
progressed very slowly from one pattern to the next in a very
repetitious fashion. Aided by soothing vocal effects and horn sounds, his music is often
criticized as uneventful and shallow, yet startlingly effective for its hypnotic charm. He
combined his signature repetitive and overlapping style with theatrical grandeur
on stage.
His musical compositions total around 170.

5. MODERN NATIONALISM
Modern nationalism is a looser form of 20th century music development focused on
nationalist composers and musical innovators who sought to combine modern
techniques with folk materials. However, this common ground stopped there, for the
different breeds of nationalists formed their own styles of writing.

6. ELECTRONIC MUSIC
The capacity of electronic machines such as synthesizers, amplifiers, tape recorders,
and loudspeakers to create different sounds was given importance by 20th century
composers like Edgar Varese, Karlheinz Stockhausen, and Mario Davidovsky.

Music that uses the tape recorder is called musique concrete, or concrete music.
The composer records different sounds that are heard in the environment such as the
bustle of traffic, the sound of the wind, the barking of dogs, the strumming of a guitar, or
the cry of an infant. These sounds are arranged by the composer in different ways like
by playing the tape recorder in its fastest mode or in reverse. In musique concrete, the
composer is able to experiment with different sounds that cannot be produced by
regular musical instruments such as the piano or the violin.

A few of the various forms of electronic music include:

 Electronically produced sounds (e.g. music concrete which uses manipulated real
sounds from a tape recorder);
 Computer generated pitches, sounds, textures and compositions (including
microtonal music); and
 Combinations of traditional instruments with computer generated music.
7. CHANCE MUSIC
Chance music refers to a style wherein the piece always sounds different at every
performance because of the random techniques of production, including the use of ring
modulators or natural elements that become a part of the music. Most of the sounds
emanate from the surroundings, both natural and man-made, such as honking cars,
rustling leaves, blowing wind, dripping water, or a ringing phone. As such, the
combination of external sounds cannot be duplicated as each happens by chance.

Chance music is also called aleatory music. In this form of music, indeterminancy is
used in the composition of the music, performance, or both. The result is a new piece of
music each time the chance music is performed.

CHARACTERISTICS OF 20TH CENTURY MUSIC STYLE

PERFORMING MEDIUM: Performing groups during this era include chamber

orchestras; instrumental ensembles; orchestras; choral groups; computer generated
instruments (including synthesizers); and mixed media (taped sounds with traditional
instruments).

RHYTHM: Complex, individual rhythms are used, and new rhythms and meters are
common such as polyrhythms and polymeters.

MELODY: Melodies are often fragmented, dissonant and experimental. Depending on

the form or style used, melodies could be based on scales from non-Western countries,
chromatic scales, twelve-tone rows, or microtonal scales.

HARMONY: Harmony is often experimental and dissonant. Instead of all harmony being
based on the interval of a third (tertian harmony, used in much of Western tonal music),
harmony is sometimes based on seconds, fourths and fifths (respectively, secondal,
quartal, and quintal harmony). Atonality, meaning an absence of tonality, is present in
music such as twelve-tone compositions.

TEXTURE: Polyphonic textures are often used (twelve-tone music often uses
homophonic texture), and music such as impressionism or aleatory music experiment
with new textures using layers of different sounds.

FORM: Musical forms from previous musical periods are used, often in experimental
ways.