Arts Module 2022

1single space of size 11
Republic of the Philippines

Romblon State University
Liwanag, Odiongan, Romblon
3 single space of size 11
College of Arts and Sciences
Module
In

Arts and humanities
Bachelor of Science in Biology

Prepared by:
VANZ RUSSEL I. FONTAMILLAS
RSU VISION
A research-based academic institution committed to excellence and

service in nurturing globally competitive workforce towards sustainable
development.
RSU MISSION
Romblon State University shall nurture an academic environment

that provides advanced education, higher technological and professional
instruction and technical expertise in agriculture and fisheries, forestry,
engineering and technology, education, humanities, sciences and other
relevant fields of study and collaborate with other institutions and
communities through responsive, relevant and research-based extension
services.
CAS GOALS
The College of Arts and Sciences is committed to provide relevant

and quality training for students in AB Political Science, BS Biology, AB
English and AB Public Administration and related fields to satisfy the
needs of regional and national development thrusts and even global arena,
and to be of service to the community through extension program
activities.
2
This page intentionally left blank
Republic of the Philippines
Romblon State University
Liwanag, Odiongan, Romblon
College of Arts and Sciences
Module
In
Arts and humanities
Bachelor of Science in Biology
Prepared by:
VANZ RUSSEL I. FONTAMILLAS
i
This page intentionally left blank
ii
INTRODUCTION
It is believed that life is how you make it and that the quality of one's life
can be developed, enriched, and made productive through his / her own
designs. Life in relation to culture and the arts or the finer things in life is
limitless and that we only have to exert time and effort for the arts to work
for us.
Fundamental to the studies of Humanities is the necessity of the art and

the integration of values such as truth, beauty, love, justice, and faith. The
investigations on how cultures evolved and developed their value systems is
chronological, like a "return to the past" from the Egyptians, Greek,
Romans, and the later civilizations.
As we explore earlier cultures of the world including our own culture, we

should view it from the vantage point of our time and scenario in order to
see the works of the past not just as museum artefacts but as material
proofs of man's enduring responses to life's perplexities. The artworks reveal
the culture which spoke of vision, hope, dreams, anguish, and pain.
Whatever happened is relived in the art works that would lead us to fully
understand our own culture and from here we derive options to improve the
quality of life for us and those around us. As we examine the art pieces, we
would see justification from the famous lines of two immortal beings in
relation to their view of people and society: the unexamined life is not worth
living" (Socrates) and "the Filipino is worth dying for" (Ninoy). It is then
worth our while that we study cultures of the past and present in order to
make conscious cultural choices.
iii
RATIONALE
Arts are defined by history and historical process. The aesthetic

standards of art vary from one culture to another since an ideal beauty is a
construct created and agreed upon by people in society so much so that art
activities grow out of a social cultural order. There is no set of aesthetic
principles which is good for all people for all times. The western classical art
which laid down the canons of beauty in relation to tradition differs among
non-western societies as regard their influences and their uniqueness of
tradition. Art was derived from the Aryan root word "AR" which means to put
together while still another origin of the word art came from Latin "ars" which
means ability or skill. Hence, when we try to create dance steps to a given
music or song we are trying to apply our skill and that when it comes out
beautifully because it has unity, balance, evolution, and hierarchy then it has
aesthetic value. A work of art is the product of the imagination of the artist
dependent on the following factors like the material/ medium, subject, theme,
values influences, period, belief, inspiration, preparation, and others.
TARGET POPULATION
The Module in Arts and Humanities for Bachelor of Science in Biology

was developed by Romblon State University-College of Arts and Science
Faculty to provide the Political Science students with the additional
instructional manual which serves as exercises to deepen the political science
concepts being studied.
COURSE OUTLINE: Arts and Humanities

DESCRIPTION:
The study of arts and humanities with the inclusion of digital Arts
focused on Arts in Philippine setting as processes of the creative
imagination according to their development in dynamic interaction
with society.
COURSE CODE: GE Elec 2
CREDIT UNITS: 3
PREREQUISITES: None
iv
TABLE OF CONTENTS
Contents Page
Title Page-----------------------
Introduction-----------------------
Rationale, Target Population, Course
Information--------------------------
Table of
Contents-------------------------------------------------------------------
Pre-
test--------------------------------------------------------------------------------
Unit 1- INTRODUCTION TO ARTS AND HUMANITIES
1.1 Content/Concept
Standards----------------------------------------------
1.2
Vision-------------------------------------------------------------------------
1.3 Definition of
Humanities---------------------------------------------------
1.4 Role of Humanities in Man’s
Life-----------------------------------------
1.5 General Views of
Arts------------------------------------------------------
1.6 Nature of
Arts----------------------------------------------------------------
1.7 Functions of
Arts------------------------------------------------------------
1.8 Methods of Presenting Arts
subject--------------------------------------
1.9 Principles of Aesthetic
Form----------------------------------------------
1.10 Basic Element of
Arts-----------------------------------------------------
1.11 Assessing a Work of
Art--------------------------------------------------
1.12 Elements of
Painting------------------------------------------------------
1.13 Medium of
Art--------------------------------------------------------------
Performance-Based
Format-----------------------------------------------------
v
Unit 2 – Painting
2.1 Brief History ------------------------------------------------------------
2.2 Egyptian Painting----------------------------------------
2.3 Greek
Painting----------------------------------------------------------------
2.4 Roman Painting--------------------------------------------
2.5 Early Christian
Painting-----------------------------------------------------
2.6 Byzantine Painting--------------------------------------------
2.7 Romanesque
Painting--------------------------------------------------------
2.8 Gothic Painting-------------------------------------------------------
2.9 Renaissance Painting
2.10 Mannerism Painting
2.11 Baroque
Painting------------------------------------------------------------
2.12 Rococo Painting--------------------------------------------------------
Page
2.13 Neo-Classicism Painting-----------------------------------------

2.14 Romanticism
2.15 Realism-------------------------------------------------------------
2.16 Naturalism---------------------------------------------------------
2.17 Impressionism
2.18 Modern Painting---------------------------------------
Symbolism, Iconography and Iconology, Fauvism, Cubism,
Expressionism, Surrealism
Some Outstanding Artists, Category, Outstanding Works and
Nationality
Philippine Painting
Ethnic art
Folk Art
Three folk art motif
Tattoo Art-Ancient Art
Spanish Period
American Period
Modern Period
Unit 3 – Music
3.1 History of Music----------------------------------------------------
a. Lupang Hinirang--------------------------------
b. Kumintang--------------------------
3.2 Traditional Lowland Filipino Music
a. Villancio-----------------------------
b. Contemporary Peasant Songs---------------------
vi
c. Lyrics of Kundiman -------------------------------------------------
d. “Madaling Araw” --------------------------------------------
e. “Anak ng Dalita”------------------------------------------------------
f. “Bituing Marikit”----------------------------------------------------
g. “Kundiman ng 1800”---------------------------------------------
h. “Himutok”-------------------------------------------------
i. “Awit ng Magsasaka”--------------------------------------------
j. “Dalagang Pilipina”------------------------------------------
k. “Mariposa” –Aliparo (1889) Danza-------------------------
l. “Ilocano”--------------------------------------------------
j. “Visayan”-------------------------------------------------
l. “I have a Little Bird Taraz”-----------------------------------
m. “I am Angi”-------------------------------------------------
n. “Pampango”---------------------------------------------------
3.3 Religious Influence on Philippine Music----------------------
3.4 Philippine-made Instruments--------------------------------
a. The guitar-------------------------------------------------------
b. Musikong Bumbong-------------------------------------------
c. Brass Wind Instruments---------------------------------------
d. Woodwind Instruments------------------------------------------
e. Stringed Instruments------------------------------------------
f. Percussions Instruments
g. Musikong Bumbong Instruments----------------------------
h. Kalatog-Pukpok
Unit 4- Dance ---------------------------------------------------------

4.1 Brief History---------------------------------------------------------
4.2 Classification of
Dance--------------------------------------------------------
a. Communal Dance----------------------------------------------------------
b. Primitive Dance------------------------------------------------------------
c. Ritual Dance------------------------------------------------------------
d. Folk Dance-----------------------------------------------------------
e. Social Dance---------------------------------------------------------
4.3 Theater Dance: Ballet-----------------------------------------------
a. French Ballet------------------------------------------------------------
b. Russian Ballet----------------------------------------------------------
c. World Ballet---------------------------------------------------------------
4.4 Eastern Dance Form-----------------------------------------------------
4.5 Western Ethnic Dance-----------------------------------------------------
4.6 Modern Dance------------------------------------------------------------
4.7 How to Enjoy and Evaluate Dance-----------------------------------
4.8 Philippine Folk Dance------------------------------------------------
4.9 Famous Filipino Dancers
vii
viii
PRETEST
Name: Score:
Multiple Choices. Choose the symbol of the correct answer in
accordance with every statement or question in each item. Fully shade
the circle provided in each item.
Rules in shading.
No ♠ ♣ ♥ ♦ ☯ Decision Description
1 ●〇〇〇〇 Acceptable One and Only Choice
2 〇●〇 ● 〇 Unacceptable Double Choices
3 ●〇〇〇 ● Unacceptable Only Choice With Correction
4 〇〇⦿ 〇〇 Unacceptable Dot Inscribe the Circle
5 ◐◕◑◓◔ Unacceptable Any Form of Partial Shading
6 〇〇〇〇〇 Unacceptable No Answer at All
1. This is the quality of opposing or No ♠ ♣ ♥ ♦ ☯ No ♠ ♣ ♥ ♦ ☯

contrasting elements. 1〇〇〇〇〇 26 〇〇〇〇〇
♠Balance 2〇〇〇〇〇 27 〇〇〇〇〇
♣Evolution 3〇〇〇〇〇 28 〇〇〇〇〇
♥Hierarchy
4〇〇〇〇〇 29 〇〇〇〇〇
♦Organic Unity/Unity in Variety
☯Theme and Thematic Variation
2. It refers to the magnitude or bulk
of an object. 7〇〇〇〇〇 32 〇〇〇〇〇
♠Line ♣Size ♥Shape 8〇〇〇〇〇 33 〇〇〇〇〇
♦Texture ☯Color 9〇〇〇〇〇 34 〇〇〇〇〇
3. This reflects the unity of a process 10 〇〇〇〇〇 35 〇〇〇〇〇
that is when the earlier parts 11 〇〇〇〇〇 36 〇〇〇〇〇
determine the latter, and all 12 〇〇〇〇〇 37 〇〇〇〇〇
together, form a total meaning? 13 〇〇〇〇〇 38 〇〇〇〇〇
♠Organic Unity/Unity in Variety 14 〇〇〇〇〇 39 〇〇〇〇〇
♣Balance 15 〇〇〇〇〇 40 〇〇〇〇〇
♥Evolution 16 〇〇〇〇〇 41 〇〇〇〇〇
♦Hierarchy 17 〇〇〇〇〇 42 〇〇〇〇〇
☯Theme and Thematic Variation 18 〇〇〇〇〇 43 〇〇〇〇〇
4. It refers to the physical form or 19 〇〇〇〇〇 44 〇〇〇〇〇
figure which could imply weight or 20 〇〇〇〇〇 45 〇〇〇〇〇
volume 21 〇〇〇〇〇 46 〇〇〇〇〇
♠shape ♣color ♥line 22 〇〇〇〇〇 47 〇〇〇〇〇
♦size ☯texture 23 〇〇〇〇〇 48 〇〇〇〇〇
5. A criteria that tells about the 24 〇〇〇〇〇 49 〇〇〇〇〇
scope and significance of a work 25 〇〇〇〇〇 50 〇〇〇〇〇
of art.
♠Sincerity ♣Universality
♥Craftsmanship ♦Hierarchy
☯Magnitude
6. It refers to the coarseness or the smoothness of a material.
ix
♠Color ♣Texture ♥Shape
♦Size ☯Line
7. This satisfies the question on whether the artist’s intention is perfectly
honest or if he/she is striving for effect either by sentimentality or
sensation.
♠Sincerity ♣Universality ♥Magnitude
♦ Craftsmanship ☯Heirarchy
8. It is the appearance or hue of an object with regard to the wavelength
of light reflected by it?
♠line ♣Size ♥shape
♦Texture ☯Color
9. It is the quality of an artwork that should answer the elements of
truth in the artwork which is something permanent and not just of the
momentary value.
♠Hierarchy ♣Craftmanship ♥Magnitude
♦Universality ☯Sincerity
10. A length without width or an extension of a point.
♠Size ♣Line ♥Texture ♦Shape ☯color
11. It is associated with pre historic times and was interpreted as an
expression of concepts rather than a record of sensory experience.
♠Egyptian Painting ♣Greek Painting ♥Roman Painting
♦Early Christian Painting ☯Byzantine
Painting
12. Established the classic tradition which is refinement in entasis or the
correction of optical illusion.
♠Byzantine Painting ♣ Mannerism Painting ♥Greek Painting
♦Egyptian Painting ☯Gothic Painting
13. It depicted casual and relax figures reflecting ideal beauty of the
leisurely, educated, and well bred life.
♠Gothic Painting ♣Roman Painting ♥Greek Painting
♦Renaissance Painting ☯Roman Painting
14. This style of Painting is based upon intellectual Greek concepts
rather than upon purely emotional apprehension.
♠Mannerism Painting ♣ Byzantine Painting ♥GreekPainting
♦Egyptian Painting ☯Mannerism Painting
15. This painting was instructional in nature and preserved in miniature
form. A good example is ‘Lamentation” by Giotto Di Bodini
♠Gothic Painting ♣Greek Painting ♥Roman Painting
♦Romanesque Painting ☯Mannerism Painting
16. Refers to painters who portrayed effects of experience upon the
conscience of the artist.
♠Exceptionist ♣ Expressionist ♥Suprematism
♦Impressionist ☯Surrealism
17. It is the Practice where art production represents ideas by means of
symbols, thus giving meanings to objects, events and conditions.
♠Fauvism ♣Cubism ♥Suprematism ♦Surrealism ☯Symbolism
18. A peculiar abstraction where structure is subordinated to surface
arrangement.
♠Surrealism ♣Suprematism ♥Cubism ♦Fauvism ☯Realism
19. Supports the doctrine that material objects exist and are actual facts.
♠Fauvism ♣Realism ♥Cubism ♦ Surrealism ☯ Suprematism
x
20. Refers to the swing, sway, the beat, the rocking or dance motion.
♠Rhythm ♣Melody ♥Dynamics
♦Harmony ☯Quantification of Data
21. The orderly succession of sounds beginning as phrase units and
expanding into motifs or themes.
♠Color ♣Style ♥Rhythm ♦ Melody ☯Dynamics
22. It is the interplay of softness and loudness.
♠Style ♣Color ♥Harmony ♦Dynamics ☯Melody
23. Maybe understood as the peculiarity or influences of the period.
♠Melody ♣dynamics ♥color ♦style ☯Harmony
24. Instrumental conclusion of a song.
♠Medley ♣ Legato ♥Opus ♦Postlude ☯Prelude
25. A musical number preceding a song.
♠Prelude ♣Postlude ♥Opus ♦Legato ☯Medley
26. An instrumental composition usually in four movements.
♠Sonata ♣ Sustenuto ♥Staccato ♦Theme ☯Unison
27. A brief Melodic idea of which a musical work grows
♠Vivace ♣Theme ♥Unison ♦Sestet ☯Staccato
28. Singing of same notes.
♠ Sonata ♣Vivace ♥ Unison ♦ Opus☯Theme
29. Instrumental music which does not suggest or tell a story.
♠Arpeggio ♣Cantabile ♥Dolce ♦Encore ☯Absolute Music
30. A harp-like playing of notes played in quick succesion.
♠Cantabile ♣Ad libitum ♥Legato ♦ Rondo ☯Sestet
31. It is the embodiment of artistic or the structural unity of plot,
character, setting, point of view, irony, symbols, theme, and style.
♠Irony ♣Setting ♥Character ♦Plot ☯Fiction
32.The selection of events based on relevance and suggestiveness,
ordering of action to reveal exposition.
♠Fiction ♣Plot ♥Character ♦Setting ☯Irony
33. A sense of physical presence of people “in the round” fully fleshed and
with inner life.
♠ Setting ♣ Character ♥ Irony ♦ Fiction ☯ Plot
34.Also a scene or atmosphere, could be a fixed locale or a “feeling” which
invites meanings .
♠Fiction ♣Plot ♥Character ♦ Setting ☯ Point of view
35. Shows contrast between what seems and what is and could be.
♠Irony ♣Setting ♥Character ♦Plot ☯Fiction
36. A branch of the humanities that renders artistically, imaginatively the
best of man’s thoughts and feelings.
♠Imagery ♣ Tone ♥Language ♦ Sound and Rhythm ☯Poetry
37.It is a connotative that employs words for their flavour or feel.
♠Poetry ♣Sound and Rhythm ♥Language ♦Tone ☯Imagery
38. The total sensory suggestion of poetry namely: visual, auditory,
tactile, gustatory, and bodily.
♠Sound and Rhythm ♣Imagery ♥Tone ♦Language ☯Poetry
39. It is the dialogue and stage direction for actors and stage technicians.
♠Script ♣ Play ♥Plot ♦Conflict ☯Irony
40. A script coming to life and is a directors interpretation of script.
♠Irony ♣Conflict ♥Plot ♦Play ☯Comment
41. A dance where the emphasis is on social expression.
♠Commercial ♣ Theater ♥Communal ♦Primitive ☯Ritual
xi
42. A dance where the emphasis is on professional expression of a dance
formed.
♠Ritual ♣Primitive ♥Communal ♦Theater ☯Commercial
43. Developed from the racial or regional memories of older motifs in
communal dance and reflected social and recreational expression.
♠ Communal ♣Primitive ♥ Ritual ♦Folk ☯Social
44. A coupled dance emerged in the 15 th Century Europe in a variety of
vigorous adaptations and refinements of folk dance developed by the
dancing masters of the time.
♠Social ♣Folk ♥Ritual ♦Primitive ☯Communal
45. A dance drama of Hindu Mythology.
♠Kathakali ♣Kathak ♥Manipuri ♦ Kabuki ☯Bharata
46. A strongly rhythmic dance, with accelerated foot tapping and dynamic
turns.
♠Bharata ♣Kabuki ♥Manipuri ♦Kathak ☯Kathakali
47.A dance of vigorous movement and acrobatic agility.
♠Kathakali ♣Kathak ♥Manipuri ♦Kabuki ☯Bharata
48. A dance in a Tagalog region performed to welcome or honor a guest.
♠ Alay ♣ Escotis ♥ Lagundi ♦ Singkil ☯ Tinikling
49.A Visayan folk dance during social functions by the people of Panay.
♠Tinikling ♣Singkil ♥Lagundi ♦Ecotis ☯Alay
50. A dance that originated from Lanao del Sur.
♠ Alay ♣ Escotis ♥ Lagundi ♦ Singkil ☯ Tinikling
xii
UNIT 1
At the end of the course, you should be able to:

a) identify characteristics of art by way of examples;
b) compare and contrast the structure according to the elements and medium
used;
c) present an oral evaluation of a given art work.
INTRODUCTION
"Art, as far as it is able, follows nature, as a pupil imitates his master; thus your art
must be, as it were, God's grandchild."
-Dante, "Inferno”
It is believed that life is how you make it and that the quality of one's life can
be developed, enriched, and made productive through his / her own designs. Life in
relation to culture and the arts or the finer things in life is limitless and that we
only have to exert time and effort for the arts to work for us.
Fundamental to the studies of Humanities is the necessity of the art and the
integration of values such as truth, beauty, love, justice, and faith. The
investigations on how cultures evolved and developed their value systems is
chronological, like a "return to the past" from the Egyptians, Greek, Romans, and
the later civilizations.
As we explore earlier cultures of the world including our own culture, we

should view it from the vantage point of our time and scenario in order to see the
works of the past not just as museum artefacts but as material proofs of man's
enduring responses to life's perplexities. The artworks reveal the culture which
spoke of vision, hope, dreams, anguish, and pain. Whatever happened is relived in
the art works that would lead us to fully understand our own culture and from here
we derive options to improve the quality of life for us and those around us. As we
examine the art pieces, we would see justification from the famous lines of two
immortal beings in relation to their view of people and society: the unexamined life
is not worth living" (Socrates) and "the Filipino is worth dying for" (Ninoy). It is then
worth our while that we study cultures of the past and present in order to make
conscious cultural choices.
1
Key Concepts
1.1 Content/ Concept Standards for the Art Appreciation

(Why are the arts important?)
The arts are important to all of us, irrespective of race and time because they
provide knowledge and understanding reflect culture and tradition; build self-
confidence and self-worth; stimulate creativity and craftsmanship; and is a source
of joy and employment.
1.2 Vision
For the arts to function as an instrument in developing the capabilities of the

students to be dynamic and nurturing, as well as, serve as a connection for each
new generation in order to enrich human experience and the well-being of our
society
1.3 Definition of Humanities
Humanities is the study of the different cultural aspects of man, his frailties
in life and how these can be improved. According to the dictum of a Greek
philosopher Protagoras, "Man is the measure of all things," meaning that the
humanities uplift the dignity and values of man and his tendencies. Culture is the
disparity between man and animal; thus, to be cultured is to possess refinement in
taste and manners and these include speech, knowledge, beliefs, arts, and
technologies. Humanities also means understanding man and his affairs rather
than just a prescribed unchangeable body of accepted facts and theories.
1.4 Role of Humanities in Man's Life

Humanities can regulate the type of behavior that is considered appropriate
to an individual thus the teaching of humanities is essential in order for one to gain
the knowledge to achieve the status of a cultured man. A cultured man is perceived
as one who is well versed in the arts, in philosophy, and the languages. Humanities
of our time or the humanistic education of our youth must deal with the interface
between social personhood and personal politics so that humanities will make art a
condition of possibility, like a sword and plowshare, a spear and pruning hook. It is
an active force as we pursue our life goals.
1.5 General View of the Arts

Arts are defined by history and historical process. The aesthetic standards of
art vary from one culture to another since an ideal beauty is a construct created
and agreed upon by people in society so much so that art activities grow out of a
social cultural order There is no set of aesthetic principles which is good for all
people for all times. The western classical art which laid down the canons of beauty
2
in relation to tradition differs among non-western societies as regard their
influences and their uniqueness of tradition.
Art was derived from the Aryan root word AR which means to put together,
while still another origin of the word art came from Latin "ars" which means ability
or skill. Hence, when we try to create dance steps to a given music or song we are
trying to apply our skill and that when it comes out beautifully because it has
unity, balance evolution, and hierarchy then it has aesthetic value. A work of art is
the product of the imagination of the artist dependent on the following factors like
the material/ medium, subject, theme values influences, period, belief, inspiration,
preparation, and others.
1.6 Nature of Art
Art existed since man leaned to draw and before he could even start to talk
as shown by the early paintings in prehistoric period. The body of arts consisted of
ideas beliefs and values of the past present, and future. Art is not nature, art is
made by man. Art's greatest achievement is that 1t creates a permanent impression
of the passing scene, unlike a plant when uprooted will not always stay fresh for
somehow it dies. The freshness of a living plant can be captured and preserved in
the canvas of the artist. Therefore, art never grows old as seen and interpreted by
the artist.
1.7 Functions of Arts
The arts are important to all of us because they provide information and
enjoyment, build self-confidence, promote cultural and spiritual upliftment, and
provide avenues for discovery of spiritual and emotional dimensions of life. The
functions of the art refer to the intended utilization of the artwork and are classified
according to functional and non-functional.
Functional. This is the classification of the art according to its usefulness.

The original function of the art was religious because it was used for iconic
presentation in order to glorify a religious figure.
Another is the secular function and that is for commemorative purpose like
portraiture and monuments.
Non-functional. This is the other classification of art which is "art for art"
sake and functions to give pleasure in contemplation of the beautiful and
further leads to contemplation where artwork comes before meaning and its
usefulness.
1.8 Methods of Presenting the Art Subject
This tells how things were done and where the medium came from. It comes
as formal and informal. This could also mean the skill by which the artist
manipulates a given medium to advantage in order to achieve the best results, thus
giving the impression whether the effect is done in good taste by a virtuoso, or
whether it is a combined aesthetic and formational aspects.
3
Presenting art subjects also varies according to the context of the national
significance like it may come as an expression of a social issue, political
significance, economic need, and aesthetic value. It is also influenced by the (fine
arts) background of the artist like the indigenous if the work was done by a specific
cultural community or a minority group which has preserved its pre-colonial artistic
tradition. There were also those art works that were practically produced under the
patronage of the church and state. These were commissioned for status symbol as
material manifestations of the beliefs of the people.
The technique or method of presenting an art subject is assessed according

to the skill or expertness of the artist It is studied or viewed based on the degree of
creativity and craftsmanship employed by the artists.
The study by art historians on how the art subject is presented today differs
from that of the past. Art works are categorized according to the present set of
groupings. There are four broad general categories for Western Art. These are
Ancient, Medieval, Renaissance, and Modern.
Today art historians are neutral as regards the different styles in the
manner of presenting/producing the art subject. For them no artwork is
superior or inferior because all are worthy of study.
1.9 Principles of Aesthetic Form
1. Organic Unity and Unity in Variety
This means that each element in a work of art is necessary to its

value. It must be unified and must "hang together" as one entity. Each
element of the art used is essential to the work.
2. Theme and Thematic Variation

There is a dominant theme or motif in the artwork which stands out and
upon which the other portions are centered though this theme is varied in
different ways in other portions of the work.
Thematic variation. The theme is still the same but the presentation is
varied and different from the earlier format through devices of repetition.
3. Balance
This is the quality of opposing or contrasting elements. The axis or the
center point is established by an imaginary line to find out the kind of
balance used.
4. Evolution
This reflects the unity of a process that is when the earlier parts
determine the latter, and all together, form a total meaning. A painting
consists of a foreground, a middle ground, and a background.
4
5. Hierarchy
This is the principle of subordination where artwork is grouped according to
rank or size highest to lowest.
1.10 Basic Elements of the Arts
Elements of the Fine Arts

Subject, medium, line, color, texture, volume, perspective form and style
Elements of Music
Rhythm, melody, dynamics, harmony, texture, form, color and style
Elements of Literature
See this in relation to genre:
as to poetry, as to novel, as to short story, as to essay
1.11 Assessing A Work of Art

"What makes any work of art great?
This question involves the whole science of aesthetics, discipline which
has engaged great minds through the years. The answer is simple and it is
by identifying an artwork that has stood the test of time yet still remains
meaningful. There are certain criteria that can be applied. These are
sincerity, universality, magnitude, and craftsmanship.
Sincerity satisfies the question on whether the artists intention is
perfectly honest or if he/she is striving for effect either by sentimentality or
sensation. Subjects of art in the case of "Spoliarium" are fraught with
frustration and sentimentality.
Universality is the quality of an artwork that should answer the

elements of truth in the artwork which is something permanent and not
just of the momentary value. Like in the case of the sculpture of "Our Lady
of Peace" of EDSA. It speaks of man's universal belief in the power of prayer
in fighting for a cause.
Magnitude is a criteria that tells about the scope and significance of a
work of art. A very good example is the work of Michelangelo, which is the
“Sistine Chapel" and Juan Luna's "Spoliarium”. These pieces can be seen
several times and yet one cannot exhaust the depth and extent of its
meaning.
Craftsmanship is perceived from the point of view of a master or a
group of artists who represent a style that reflects period and form of
elements and technical skills.
1.12 Elements of Painting
5
1. Line - length without width or an extension of a point. There are two
kinds of lines. The first one is static line and the other is the dynamic
line.
 Static - because it suggests stillness

Examples are vertical lines, oblique lines, and horizontal lines.
 Dynamic - suggests force in motion
Examples are the curved lines, which are vigorous strokes.
2. Size - refers to the magnitude or bulk of an object.
3. Shape- refers to the physical form or figure, which could imply weight or
volume.
4. Texture - refers to the coarseness or the smoothness of a material.
5. Color - is the appearance or hue of an object with regard to the
wavelength of light reflected by it.
The primary colors are red, blue, and yellow. They are the original colors
because they cannot be produced from any color combination.
The secondary colors are formed by combining two primary colors. These are
green, orange, and violet.
The tertiary colors are formed by combining both the primary and secondary
colors. They are blue green, blue violet, red orange, red violet, yellow orange,
and yellow green.
A monochromatic color is the result of using different degrees of lightness
and brightness of only one color.
Color Connotations
 White -pure, innocence, emptiness, calm, indifference

 Red- radical emotions, anger, aggressive, excitement, welcoming
 Orange- unpredictable, warm, deteriorating, changing
 Green- raw, promising, immature, fresh, soothing, pleasant
 Yellow- cowardly, informal, sun
 Blue- clarity, severe, formal, low-spirited, reliable, sincere
 Purple- imperial, regal, articulate, showy
6. Value - refers to the intensity of lightness and darkness viewed from the source
of illumination. It could also be expressed as the tonal gradation of a color.
Examples are pale pink, light red, blood red, and maroon.
Four Properties of Value
 Intensity of light in relation to shadow
 Relationship of value to all adjacent tones
 Identification of the nature and quality of light
 Integration of the influence of reflected light
7. Subject - tells us who or what is the artwork about, though the finished work is
the interpretation of the artist according to how he/she interprets it.
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8. Medium - means the material used by the artist in creating his work, for
example, in painting where the artist would use oil water color.
1.13 Medium of Arts
Painting - oil, oil pastel, crayon, tempera, water color, fresco, craypas
Sculpture - wood, marble, terracotta, stone, clay, gold, silver, bronze, and
precious stones
Architecture - stone, cement, steel, wood, coco lumber
Literature - paper / pen, computer
language 1 dialect
Music -melody and lyrics
musical instruments
human voice
Dance - song, sound, body language
Theater - script, stage, performers
property of the set
music scoring, lights
Cinema - celluloid or film and other equipment
Digital Arts - computer and software
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Quiz# 1
Directions: In not less than 200 words, explain the dictum “Man is the measure of
all things”. Your composition will be rated based on the rubric reflected below.
Plagiarism is strictly prohibited.
(3) (2) (1)

Outstanding Very good Good
There is an outstanding structure. Written composition is Some explanations are not
The detailed and accurate organized. The totally clear and have an
Structure and
explanation is in sequential/logical explanation sustains effect to the structure of the
Organization
order enough the structure of texts.
the information
The explanation is highly specific to The explanation is The explanation is somehow
the topic and provides sufficient specific to the topic and related to the topic and
Ideas and Voice information and details to allow the elaborated upon with elaborated on with facts and
reader to have a deep understanding facts and details. details
of the topic.
The choice/use of words is The choice/use of words The choice/use of words is
outstanding. It goes beyond the is very good. Common basic. Common words are not
Word Choice
expectation of the readers. words are appropriately even appropriately used.
used.
Some of the sentences are
All of the sentences are constructed Most of the sentences are
constructed in own words.
Original Thought in own words. Some original thought constructed in own
Some are exactly written as
is shown by elaborating on topic. words.
in the original text.
Some rules of grammar Most of grammar and
Rules of grammar and orthography and orthography are orthography are incorrect
Grammar and
are correct which lead into greater correct which lead into which lead into greater
Spelling
understanding of the entire texts. greater understanding of understanding of the entire
the entire texts. texts.
As we journey in this world. We come to experience life and what it offers. As different
experiences result in different perspectives. We, humans, see the world differently from each other.
It is stated that “Man is the measure of all things”. In my opinion, the statement implies
whether what he/she thinks is good or bad, beautiful or not, just or partial, is relative to a person’s
own way of looking at things. It is not right or wrong by default. It is just how a person’s view is
based on his/her life experiences, learned values, personality, and character.
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For instance, if you give a coin to a beggar. The value of that coin relative to a rich man’s
perspective is bigger than just what it is. If you look at an art painting some would be deeply inclined
while some do not. Seeing the disparity, we realize that nothing really matters if and only if, in the
eyes of a man that thing is valuable and beautiful in regards to their needs and experiences in life.
What some see as ordinary, for some is extraordinary. What some see as acceptable, to others
unacceptable. While each of us measures all things by what we believe is right or good, sometimes we
also share the same belief.
In your own understanding, what is the role of humanities in man’s life? State
your answer in not less than 200 words.
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Directions: Create any visual art that relatively highlights and exemplifies the
basic elements of arts and the principles of Aesthetic forms; then explain the
output through an essay composition.
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UNIT II

1. Sort out characteristics by which art works are grouped
2. Relate the personal life of the artist based on his work
Painting
This is an art which brings expression to the experiences of the past as is a
representation art. It is also a form of visual art that shows the intrinsic values of
man through the creative and imaginative use of lines, color, value, shape,
medium, and others.
2.1 Brief History

Even before written record was made available, man had already been engaged in
painting as expressions of his yearning for creativity and communication. This was
evident on walls of caves during the Paleolithic period. These paintings are crude
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pictures of animals and primitive drawings consisting of few "stick figures".
example of this is the Angono (Rizal) petroglyphs.
2.2 Egyptian Painting

It is associated with prehistoric times and was interpreted as an expression of
concepts rather than a record of sensory experience. The Egyptian's love for beauty
enabled them to create art in their everyday life. Hieroglyphics was their first art
form which presented images with potential magic. There are three stages in the
development of Egyptian paintings. They are first, the Old Kingdom which was
associated with their kind of worship and life after death. The next was the Middle
Kingdom, which was primarily used in tomb paintings depicting scenes of local
wars, animal life, and dancing and hunting scenes. The last one which was the New
Kingdom is found in rock tombs, and is about scenes of funeral and pilgrimages to
Abydos.
2.3 Greek Painting

It established the classic tradition which is refinement in entasis or the correction
of optical illusion.
2.4 Roman Painting

It depicted casual and relaxed figures reflecting ideal beauty of the leisurely,
educated, and well-bred life.
2.5 Early Christian Painting

This is characterized by the tendency towards spiritualization and by progressive
abandonment of the imitation of nature. The paintings are in bright and
contrasting colors.
2.6 Byzantine Painting

This style of painting is based upon intellectual Greek concepts rather than upon
purely emotional apprehension.
2.7 Romanesque Painting

This followed the traditions of the spiritual art set by the earlier art. The artist
capitalized on the use of expensive colors and rhythmic composition in order to stir
up religious emotions.
2.8 Gothic Painting
This painting was instructional in nature and preserved in miniature form. A good
example is "Lamentation" by Giotto Di Bodini.
2.9 Renaissance Painting

This started about the 14th century and is characterized by the rebirth in the
interest and concern for life towards new discoveries particularly in the field of the
arts.
Michelangelo was the genius of the time both in painting and sculpture though his
best work was in sculpture.
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Leonardo Da Vinci, another master of the period, whose fine example in the use of
"chiaroscuro" or tonal value is evident in his famous painting of the "Mona Lisa"
with the elusive and enigmatic smile.
2.10 Mannerism Painting

These are works of painters who are called Mannerists because they were
experimenting on the details of early artist's style and then combined these to form
new and meaningful art. This type of painting is eclectic.
Realist
Claude Monet - (1832-1883) A Realist "Luncheon on the Grass" characterized as a
work of art about the blending of clothed and nude figures with landscape and
being able to instill life in one picture.
Impressionist refers to painters who portrayed effects of experience upon the
conscience of the artist.
August Renoir, for example, showed movement in the human (female) form and
projecting this in time and space.
Expressionist started in Germany around the 20th century where the artist used
distortion of color and form to portray inner sensations and turmoil.
Van Gogh was an unbalanced expressionist artist from Holland who used strong
colors in his works expressive of his inner turmoil.
2.11 Baroque Painting

originated from the Italian word "barucco" which is a philosophical term meaning
"opposing" or "contradicting." The characteristics of these style is that there is a
strong dose of realism and elongated figures.
2.12 Rococo Painting came from the French word "rocaille" which means artificial
art work and pierced shell work and are of elaborate designs.
2.13 Neo-Classicism denotes revival of classic ideals and forms in art whose theme
is about heroic subjects and about sacrifice for a noble cause.
2.14 Romanticism is characteristic of art works presenting idyllic landscapes,

stylized designs, and fluid sky.
2.15 Realism supports the doctrine that material objects exist and are actual facts.
2.16 Naturalism was started by Gustave Courbet who believed that a painter
should paint according to what is seen in everyday life and that artists should
portray objects and situations that are seen and experienced first-hand with
emphasis on the sordid.
2.17 Impressionism is a movement that aimed to bring out the effects of

experience upon the consciousness of the artist and audience rather than the
objective quality of the subject of the artwork.
Works of this period are concerned with the technique of suggesting light and color
rather than the subject matter.
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2.18 Modern Painting - 20th century painting and the "isms” of art (subject to the
individual expression of the artist).
Symbolism - is the practice where art production represents ideas by means of
symbols, thus giving meanings to objects, events, and conditions.
Iconography and iconology-refers to the study of the meaning and interpretation
of symbols and allegories.
Fauvism - is described as using brilliant primary colors in favor of color
illumination on subjects like pictures of comfort, joy, and leisure.
Cubism is a form of abstraction wherein objects are first reduced to cubes and then
flattened into two dimensional shapes.
Expressionism - is an art derived from Cubism which is a development of
decorative, individualistic, and personal expressiveness.
Suprematism - is a peculiar abstraction where structure is subordinated to surface
arrangement.
Surrealism - is the opposite of abstraction, a modern art that attempts to
portray the subconscious mind
through unconventional means.
Some Outstanding Artists, Category, Outstanding Work, and Nationality
1. Gustave Courbet "Bonjour Courbet" Realistic,
(French) Naturalistic
2. George Seurat (fusion of tiny dots Pointillist
which is an optional Impressionism
phenomenon that
blends the color in
the age of the
observer, producing
striking tonal
translations)
3. Henri Matisse fauvism
1876-1958
4. Paul Gauguin Fauvism
5. Vincent Van Gogh Paintings of
(Intense Personality) everyday objects,
personal or
subjective
expressions like
self-portrait, chair,
tables
6. Kasimir Malevich Russian Movement
7. Werner Scholz Expressive style Expressionism
Germany Half Length figures
Of timid children
And sorrowful youths
8. Claude Monet Landscapes French
Depicted sunlight Impressionist
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Playing on water
9. August Renoir Showed movement
Of human figures
Especially women and
Radiating vitality and
Health
10. Morris Graves “Little Known Bird American
Of the inner Eve” Surrealist
11. Jackson Pollock Paints with his Modern American
Canvas on the floor Artist
12. Pablo Picasso “Guernica” Modern Artist
(1881-1973) Outstanding genius Cubist
Malaga, Spain of the 20th century
13. Rembrandt Dutch Painter of 1669
Harmenszoon
Van Rijn
Philippine Painting
In the Philippines, painting in compared to that of its counterpart in the Pacific
region. By nature, Filipinos are imaginative and creative but whatever artifacts
available were eventually lost to oblivion
because of two major factors: the first is that primitive art were made to last for a
very short life span ("ephemeral") maybe because of the medium used like leaves
and bark of trees which could not withstand the exigencies of the weather; and the
second is that the coming of the Spanish colonizers left them with no choice but
accept the culture of the Spaniards. There were no incentives for them to go on
practicing their craft.
With the coming of the Spaniards, Philippine painting had tobe revolutionized
and was greatly influenced by religion. The dominant subjects were religious figures
of Jesus Christ, Virgin Mary and the Saints.
Paintings in the Philippines mirror changes through colonial periods. They
embodied the vanishing period and were reflective of Filipino sentiments. The cliché
"Art for Art Sake" and "Art for the Message Sake" were manifested in the artists
work as expressions of their preferences and understanding of life around them.
The pieces varied from beautiful expressions of joy and sadness, peace and chaos,
and landscapes and figures. Early Philippine paintings were dominated by religious
influence as shown in the examples of "Jesus Addressing the Women of Jerusalem"
and paintings of the Virgin Mary. It can also be noted that there were far more
paintings of the Virgin Mary than that of Jesus and the Triune God. This is so
because the mother of Christ was venerated under different nomenclature such as
"Mater Dolorosa", "The Lady of the Holy Rosary", "The Immaculate Concepcion",
and others.
Ethnic Art. This means native or indigenous Philippine design. This kind of art is
influenced by Southeast Asian neighbors. The ethnic art has curvilinear and linear
patterns or designs. This can also be traced from primitive designs as demonstrated
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in Philippine prehistoric pottery used as surface decorations by way of painting,
piercing, impressing and engraving
Folk Art. It means peoples art as well as handicrafts. This is basically made by the
hands of common people where the materials are crafted together that the process
itself is also art form. Most of these folk arts are produced in quantities whereby
the quality and style of the finished product may vary but the design is alike. This
is because cultural artifacts are manifestations of the manual skill known to them
which is part of their daily activities and as such reflected the way of life of the
makers.
Three Folk Art Motif

1. The Serpent-Demon of Art or the Middle of the Naga. The Naga design is said
to be Sanskrit in origin and it means serpent-demon and in Indian language, the
term is used for cobra and other families of snakes. This art form is described as
the figure with "human face and serpent- like lower extremities". This art has also
its counterpart in Bahasa Indonesia as "dragon or mythological serpent" whereas in
Malay it means "dragon or mythical serpent". In many Maranao (Lanao and
Cebuano) it also means dragon.
2. The Sarimanok. This is a cultural symbol of Mindanao. It was infuenced by

Indonesia and Malaysia and originated from the Middle East. It is reminiscent of
Islamic Art of Umayyad Dynasty in the 18th century. The word "sarimanok" is
derived from the story of a Sultan of Lanao's daughter Sari who had a birthday
party under a balete tree and during the festivity a beautiful rooster appeared and
magically disappeared together with Sari never to return again. This prompted
father Sultan to ask
his people to carve a rooster, just like the one that disappeared with his daughter.
3. Burak (Borak). This is also a Muslim folk art and is described as a horse with a
human figure.
Tattoo Art- Ancient Art

The Philippines is rich in folk culture and the mountain tribes of Northern Luzon
have the most unique and colorful artistic tradition.
The art of tattooing was prevalent among the mountain tribes. For women the
tattoo on their legs, arms, and breasts was to enhance their beauty. On the other
hand, the menfolk, used them to mark
age, bravery, tribal sincerity, and prestige gained from head-hunting expeditions.
It is claimed that some tattoos have magical qualities like those of scorpion,
centipedes, snakes. Among the Benguet tribesmen the designs come in indigo blue
and are pricked on the breasts and arms
Tattoos also take the place of a blouse. The Bukik Igorots are examples where
tattoos are done as garments on the entire upper torso giving the unusual
appearance of a coat.
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The Pintados of the Visayas were so named by the Spaniards because it was
customary for the natives to tattoo the whole body at an early age and the
elaboration of the tattoo got their name Pintados.
Spanish Period
History has played a great part in Philippine painting and the coming of the
Spaniards made an impact in the pictorial art especially with the propagation of
Christianity Religion influenced a great deal the art of painting because the Church
was the only patron of the art. The natives were engaged in mediocre works due to
lack of formal schooling. The Augustinian Friars of Intramuros initiated drawing
lessons that brought about better works as early as the 17 century. With religion as
the impelling factor, religious themes dominated painting thus giving way to
secular painting where Filipinos were into genre and landscape painting.
1. Jose Dans “Heaven, Earth and Hell” From Paete, Laguna

1840 No formal schooling
2. Damian The Holy Family Established art
Domingo (Sagrada Familia) school
19th century Religious and
portrait painter
Binondo, Manila
3.Antonio “Julia Francia” Binondo, Manila
Malantic
4. Jose Maria called Artist who gave
Asuncion “qord miniaturismo” prominence on
Details
5. Simon Flores y “Feeding Chicken” Genre and religious
Dela Rosa Painter from Paco.
Manila
6.Felipe Roxas Landscape Painter
7. Pepe Lozano Illuminator
8. Rafael EnriquezEstablished two schools A religious figure and
Of fine arts, portrait painter
One at R. Hidalgo St. and
The other was the U.P
School of Fine Arts
9. Manuel Pointillist
Zaragosa
10. Juan Luna -“Spolarium”- a mural size
Classico- romantic middle
19th century where subjects
are taken from episodes
of Roman empire and means
“spoils of war”
11. Felix Hidalgo -“Virgenes Cristianas Expuestas
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Al Populacho Cristianans Al
-Propagandist painter
American Period
12. Fernando Specialized on Philippine

Amorsolo Philippine rural settings
He perfected contrasting hues
For harmony and this color
Scheme was later called
Amorsolo color.
Modern Period
13. Hernando R. He is a national Artist “Calvary”

Ocampo His works were purely Crucifixion was
Flilipino Expressionist used for suffering
And tell of the modern of the workers
Filipino
14.Cezar Uses gadgets in elements
Legazpi of painting like texture,
Volume and color were those
Of the machines and the
Human figure looked like
Zombies
15.Arturo Abstract painter,
Lopez subject matter is
Local color and
People in the
Streets.
16. Jose de Abstract
Joya
17. Victor C. “The Builder” Had proletarian
Edades overtones but to
Present beauty in
The massive figures
Of the working men
And he used bold
Rough masses of
Deep brown ochre
(fine yellow or
Reddish brown clay
Other Famous Filipino Painters

1. Carlos "Botong" Francisco - Folk baroque tradition of Angono, Rizal
2. Ben Cab - Ethnic motifs and forms and figures from Philippine history
3. Imelda Cajipe-Endaya - Ethnic motifs and forms
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4. Ricarte Purugganan - Folk artist who combined modern lines (curvilinear) and
pre-Christian lines (straight)
5. Brenda Fajardo - Tackled Filipinism and Feminism as themes in her works
Performance-Based Format
Content/Concept:
Unit 2
Painting
1. Brief History 7. Romanesque 13.Neo-Classicism
2. Egyptian Painting 8. Gothic 14. Romanticism
3. Greek Painting 9. Renaissance 15. Realism
4. Roman Painting 10. Mannerism 16. Naturalism
5. Early Christian 11. Baroque 17. Impressionism
6. Byzantine 12. Rococo 18. Modern Painting
Philippine Painting
Some Outstanding Artists
Quiz # 2
1. How do you determine the time, period, culture, and style of a work of
art? (minimum of 200 words)
Determining the time, period, culture and style of work of art is
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Aside from scientific techniques for instance carbon dating etc. We can
determine time period, culture and style of work using cross referencing.
10 points
2.What characteristics of the artist / painter are implied in their works?
(minimum of 200 words)
10 points
Objectives:
- Sort out characterics by which art works are grouped
- Relate the personal life of the artist based on his work. Justify your
choices
Activity 1
Pretend that you are an art historian and was hired by the Ayala Museum to
analyze an artwork for cataloging purposes in order to come up with a
brochure with a categorized listing according to eras, culture, and
movement, identify and label each work as well as provide a brief
explanation.
Activity 2
You are an artist who was invited to be a resource person to talk on painting
complete with visuals from European to Philippine paintings. Present the
work of Davinci, Michelangelo, Henri Matisse, Paul Gaugin Van Gogh,
August Renoir, Rembrandt and Pablo Picasso side by side with Juan Luna
Felix Ressureccion Hidalgo, Fernando Amorsolo, Rafael Enriquez, Manuel
Zaragosa, Hernando Ocampo Edades and Botong Francisco.
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UNIT 3
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1. Identify the key information in a song
2. Match the words with the rhythm
3. Produce a musical performance.
MUSIC
MUSIC
5.1 History of Music
Music, like dance, evolved from man’s kinship with nature, his reflections on the
beauty and joy of wanting to imitate the sounds of winds, rivers, fills, cataracts, clap of
thunder, and melodies of birds and the symphonic orchestra or music or humming of
musical sound from different instruments, or cacophony or discordant sound or harsh
sound of aural voices of nature and beasts. The Bible speaks of psaltery and harp and
Tubalcain while Greeks once merged concepts in mathematics with music and blended the
effects of music with spoken dramatic poetry (dithyramb – “to be danced”). The Greeks
played the lyre, cithara, and the aulos (with piercing sound of double oboes). They did not
have the idea of chords or harmonies but originated the diatonic scale.
The Christian Church of the first hundred years A.D. needed music for the basilica
and developed the mass. The Roman Schola Cantorum or school for singing was built in
the fourth century. The mass as well as we know it gradually assigned singers to perform
the Alleluia, Intro and Offertory, and the Congregation to respond through Kyrie, Gloria,
and Sanctus. The mass singer performed the Gregorian chant named after the Pope who
codified church music for the ritual in one year. It is characterized by speech rhythms and
melisma or the sounding of many notes sung to one syllable. Gregorian chant had no
harmonies.
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An Irish monk invented the Antiphonale, a kind of echoing of musical lines and from this
evolved polyphony or many-voiced music. If three groups of students sing “Three Blind
Mice” with the first group starting and the second coming in after “See how they run” and
so on, we have a canon or a round. The earliest form of singing was fun in this manner.
Eventually parallel singing came into vogue and these were called motets, organum, and
descants. Two musicians, Leoninus and Perotinus during the Medieval Period exemplified
church music of these kinds. However, other kinds of music developed along with the
sacred – the profane or rowdy drinking songs of students, the songs of jongleurs and
troubadors, and the minnesingers (secular songs).
The Renaissance period (1270-1594) saw the progression of voices weaving and
inter-weaving until the madrigals and Motets became fashionable, acapella singing
exercises. Musicians gathered around a long table and sang from a music book their
respective parts (Soprano 1 and 2, alto1 and 2, tenor 1 and 2, bass and baritone).
Occasionally, lutes provided accompaniment. Later purely instrumental music began to be
heard.
The different cultural musical periods are thus indicated (with overlaps):
Mannerist …………………………………………….. 1530 – 1616
Baroque ………………………………………………. 1600 – 1750
Classic ………………………………………………… 1644 – 1793
Rococo ……………………………………………….. 1715 – 1744
Romantic …………….………………………………… 1773 – 1848
Realist and Naturalist ………………………………… 1827 – 1927
Impressionist ………………………………………….. 1863 – 1900
Modern ………………………………………………… 1895 – 1960
Post Modern …………………………………………... 1960’s to the present
While symphonic music was still progressing, instruments performed “voices” of

their own with polychoral effects. The opera (is a play where most of its text are set to
music and sung to the accompaniment of the orchestra with elaborate costuming, scenery,
and choreography) and oratorio (is a long dramatic musical composition usually on a
religious theme, consisting of arias, duets, trios, choruses sung to orchestral
accompaniment and presented without stage action, scenery, and costume) had beginnings
with Lassus, Palestrina, and Victoria representing religious music while Monteverdi,
Purcell, and Lully representing Italian, English, and French opera at the earliest stages.
The stories from Greek myths (Dafne and Euridice) provided subjects (Libretto or Libretti)
for the opera.
In Germany, organ building and playing were highly developed with Johann
Sebastian Bach and Frederic Handel as the world’s greatest exponents. Bach (1685 – 1750)
was born in Thuringia into an extremely musical family where 50 members could play,
direct choirs, or write music. If a Bach musician died, there was a relative replaced him.
Johann Sebastian wrote all kinds of music “Ad Majoram Dei Glorian”. His most famous
works are:
St. Matthew’s Passion
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Mass in B Minor
Bradenburg Concerto
The Art of the Fugue
Handel (1685 – 1759), a compatriot was another great musician who wrote both
sacred and secular music. He is known for having composed the monumental Messiah
which includes the “Hallelujah Chorus” – which is so uplifting that even kings stand at the
singing of “King of Kings”, “Lord of lord” to honor Jesus Christ in the Oratorio (a work for
performance without set designs and costumes) usually in church sanctuaries.
Another great German composer is Ludwig van Beethoven (1770 – 1827), who lived
a hundred years after Bach. He had a so-called “untamed personality” but attracted several
women, including aristocrats. His purpose was to express his faith in freedom,
individuality, and dignity through glorious music set in classical form. He, therefore,
combines both classic and romantic principles.
caAccording to Bogart the characteristics of classic style are: sense of proportion, a
theme, unity, smooth-tension building up, and organized parts to form a “closed”
structure. Mozart and Haydn also belong to this period and style.
To cap periods and composers, we can look at his bare outline of periods and
composers.
Romantic Realism H. Berlioz / F. Lizst / Richard Wagner / George
Bizet / Peter and Tscharkowsky /
Mussorgsky / Brahms
Expressionism Igor Stravinsky / Schonberg
Modern Music Ralph Vaughan Williams
Benjamin Britten
Darius Milhaud
Bela Bartok
Prokofiev
Shostakovich
Aaron Copland
Musical Comedy and Broadway Musicale

George Gershwin (An American in Paris)
Victor Herbert (Naughty Marietta)
Rodgers and Hammerstein (South Pacific)
Lerner-Lowe (My Fair Lady)
(Phantom of the Opera, Les Miserables, Miss Saigon, Cats)
Elements of Music
The following constitute elements of music: RHYTHM, MELODY, DYNAMICS,
HARMONY, TEXTURE, FORM, COLOR, and STYLE.
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Rhythm refers to the swing, sway, the beat, the rocking or dance motion. Americans
and Europeans quickly identify 2-beat and 3-beat rhythms. Africans have ears for more
complicated ones while Easterners have undefined rhythmic patterns.
Melody is the orderly succession of sounds beginning as phrase units and
expanding into motifs or themes. Musical phrases end in half or full cadences.
Dynamics is the interplay of softness or loudness.
Harmony is simultaneous sounding of melodies or chord (polyphony / counterpoint
against each other). Tonality is the “home key”. Texture is the quality of tones heard and
produced, whether it is thin or thick or when many or few instruments are sounded
together.
Form or Structure refers to the organization of sounds brought together by
patterns of repetition, contrast, and variations.
Color is defined as differences in timbre or qualities reminiscent of emotions
represented by playing or singing of notes and the kinds of instruments used.
Style may be understood as the peculiarity or influences of the period e.g.,
Classicism, Romanticism, and others in which piece of music was composed.
Philippine Music
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Julian Felipe
Composer of National Anthem
Ang Pambansang Awit ng Pilipinas

LUPANG HINIRANG
Bayang magiliw, perlas ng silanganan
Alab ng puso, sa dibdib mo’y buhay.
Lupang Hinirang, duyan ka ng magiting
Sa manlulupig, ‘di ka pasisiil
Sa dagat at bundok, sa simoy at sa langit mong bughaw
May dilag ang tula at awit sa paglayang minamahal
Ang kislap ng watawat mo’y tagumpay na nagniningning
Ang bituin at araw niya’y kalian pa ma’y di magdidilim
Lupa ng araw, ng luwalhati’t pagsinta
Buhay ay langit sa piling mo
Ang aming ligaya na ‘pag may mang-aapi
Ang mamatay nang dahil sa iyo.
KUMINTANG
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The character of early Filipino music is such that it is difficult to draw the line
between music that is purely lyrical, or narrative, of the dance-songs, or songs sung with
dance. The Kumintang combines facets of all three. Retana, as reported by Santiago,
categorized three classes of the kumintang.
The first might have been the kumintang of conquest, whether construed as
conquest in wars or in courtship. It might have been linked to rowing or chants of the sea.
The second kumintang is associated with Balayan, Batangas (“the home of kumintang”)
and as such evolved into the Tagalog bridal songs. Even Balagtas reports that in Bulacan,
the kumintang was performed in weddings. It consisted of an introduction and three parts.
The Balayan kumintang indicates that the first part was autochthonous followed by parts
heavily influenced by Spanish music.
The third category of the kumintang was conceived as the cadenza, the fall of close
of a musical ponage or phrase played with musical flourish, the accompanied the awit. It
is, therefore, music that punctuated or marked places in the narration of awits, narration
of deeds, and genealogies of nobility.
Another theory asserts that the fascinating kumintang was a nocturne, a
composition of a romantic or dreamy character thought appropriate to night, sung to the
accompaniment of the violin and guitar. The song form originated as a war song but its
“fierce” character receded in the mists of time and it surfaced much later as a plaintive
song of peace and rest.
The kumintang dance reportedly was performed by a woman or by a couple.
However, a man at weddings to the accompaniment of the guitar usually sings it. The girl
starts by stepping out lightly with a glass of palm wine (sasa) in her hands. She
approaches the man of her choice, offers the cup, returns, touches his cheeks, and both
drink from the same cup. They then perform the dance to the tune of kumintang.
A variant, a change from the regularity of the version, would be the man making the
advance, then is refused, faints, he regains consciousness, then both the man and the
woman dance.
It would seem then that this song represented the oldest, authentic pre-Christian
musical tradition of the lowland Filipinos.
Scholars believe that it reflects our history, temperament and our rhythmic sense: the
deepest layers were Indian or Arab with super-impositions of the Andalusian, people near
the Mediterranean, and who speaks Spanish. The original inflammatory spirit was
submerged through stages of colonial repression and acculturation, the transfer of a
culture from one ethnic group to another, but the impulse was never lost. Mallat, the
French traveler reports the following of the kumintang in 1876:
Sino naman kaya sa sandaigdigan
Ang may dusa nitong aking kahirapan

Di mo nilingo’t pinalungalungay
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Pagsinta sa iyong walang kaliluhan.
Signos at planetas nangasaa kayo?
Ikaw kamatayan ngayo’y sumaklolo
Aanhin ko ang buhay sa panahong ito,
Wala ring halaga ang sinta ng lilo,
Maghintay-hintay ka’t ako’y mammamatay,
Itong pinatay mo’y iyong pagbalikan …
The kumintang (comintang), according to Jean Baptiste Mallat in 1846, was so

popular that a song called “Comintang de la Conquista” was included in his book about the
Philippines, and that he thought it was the national song. Manuel Sastron, a contemporary
of Mallat also reports that the dance called kumintang was popular in the 17 th and
18thcenturies but by 1895, it faded away.
Mirano (1988) believes that a dance sung by two Batangas folk artists (Donato
Mendoza and Periano Caringal, both of Bauan, Batangas) may help shed on the
kumintang. Mendoza and Caringal, say that “Awit sa Krus” was awit, pandanggo,
kumintang, kinanluran, and the scholar reports the details of the performance, thus:
Most music of this tradition consists of two lines with the instrument. The vocal may
be male or female; the instrument, a drum (tugtugan), violin (rabel), or guitar (gitara). If the
singer sings an awit, it is called awit. If he dances while singing an awit, it is called
pandanggo. The Batangas artist distinguishes between two styles of awit pandanggo – the
kinanluran and the sinilangan. “Awit sa Krus” belongs to the kinanluran style which is a
slower, more refined olfer style native to the province. This is in contrast to the sinilangan
style which is faster, livelier, and said to have been introduced by pandanggeros from the
province of Quezon to the east ……… The kinanluran pandanggo has the basic rhythm.
This is beaten on the drum or strummed or plucked on the guitar. This patterned is played
continuously from the beginning with the instrumental line creating what is called
ostinato.
Often, the guitar ostinato involves alternately strumming out basic chords … but
sometimes, a more melodic ostinato is plucked out by the guitarist. The plucked technique
is referred to as the kumintang, considered one of the most instrumental techniques used
in the awit / pandanggo. In Caringal’s performance, he switches back and forth between
the refined plucking of the kumintang, creating an arrestingand dramatic instrumental
line.
On top of the ostinato, the singer weaves his awit. The awit, which is in
dodecasyllabic quatrains, is sung in a free, non-metric rhythms which approximates the
patterns of speech. This way of singing is well-suited to the purpose of the awit, which is to
tell a story in a song.in “awit sa krus” Mendoza narrates one of the legends surrounding
the Mahal na poong Sta. Cruz, patron saint of Bauan. He ornaments his melody with
turns, runs, and melismas. Between phrases the singer often pauses to dance. Because of
these pauses, which are sometimes long, it is important that the instrumentalist continue
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playing the ostinato to keep the whole performance together. The drummer, or violinist, or
guitarist often plays around with basic rhythm, creating interesting alterations and
improvisations to delight both the audience and the singers as well.
Another example of residual form of the kumintang, if only to suggest that certain
impulses in the native tradition persist despite overwhelming efforts to “erase” our cultural
roots by media, is the classic “Mutya ng Pasig”, by Nicanor Abelardo. It is built on folklore
motifs, and western canons of music. The text by Deogracias Rosario weaves the spell of a
river goddess who disappears from her earthly kingdom. Her story was retold by Rizal in
the late 19th century, and the probably alluded to by Nick Joaquin. The folk says that she
died because of the death of love but she promises to return only when such love is
returned.
According to Professor Mirano, Mutya’s story is archetypal of images of diwata like
Mariang Makiling or Mother Earth or Inang Bayan. Since people have neglected the old
divinity or god and turned to false idols, the former gods and goddesses retire if the people
strive to rebuild with fragments of love hidden with each of them. Thus, it expresses the
longing to discover an ancient heritage lost due to deliberate neglect and rejection, plus the
hope that the heritage may be retrieved if the people work to reunify the broken pieces that
remain, which is the theme of “Mutya ng Pasig”.
5.2 Traditional Lowland Filipino Music

Diuna – work, nuptial song
Talingdao – similar to the pandanggo
Soliranin – sad, monotonous song sung on hot days
Indolanin – rustic song, street song
Dolanin – merry song of love, nuptial song
Hila-hila – bangca song with questions and answers
Manigpasin – similar to the muńera, sequidillas, manchengas, Galician group
songs for travelling
Oyayi – cradle song
Halohoo – andante songs

Umbay – sentimental songs sung by orphans, or by the sick
Umiguing – song of dressmakers
Ombayi – funeral songs sung by guests
Sambitan – funeral songs sung by relatives
Sambotani – feast songs accompanied by shouting, clapping, and the
kudyapi
Tagumpay – victory songs (also dipaginin)
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Hiliraw – sweet chorus songs, recreational songs
Tagulaylay – song of grief brought by war of love; recitative, the spirit is
absorbed in the lamentation of the pasyon, pabasa
Tadek – love dance
Paujalay – wedding dance
Dandansoy – dance of wine - gatherers
Mahinhin – courtship dance
Hele-hele – lullaby
Balitaw – from Malayan berita, brita, (of baleta) this is a Visayan love song,
the counterpart of the Tagalog kundiman, except the rhythmic figure of the
accompaniment which is like the Spanish bolero. There is the balitaw major,
popular in tagalog and Visayas regions, and the balitaw minor which is the
Visayan lolve song, probable origin of which was Leyte (Madrid).
Danza – modern love song with markedly bolero-like or slow tango beat
Kumintang – and the kundiman are treated separately an in more detail
Villancico
A villancico is a gladsome song, characterized by a perky rhythm emphasized by
three accompanying instruments: castanets, the triangle, and the guitar. The
characteristic rhythm is very evident in the famous villancico, Nacio, Pastores,
perhapas the most durable of these carols which is sung still in churches and
certainly in many Christmas choral concerts.
The oldest carols had their origins in France; the traditional carols for the
Christmas Eve procession used to flourish in Germany and in old Russia. Many of the
more popular carols of today originated in England. In them may be discerned the same
perky rhythm of the Spanish villancico, often highlighted by the pure notes of the triangle
and with words suffused with the tender, simple feelings of country folk.
Contemporary Peasant Songs

Modanza is the art of singing resorted by the peasants when cleaning the rice fields
of weeds or doing any work requiring collective effort. Weed cleansers or modanzero
numbering ten work in the field while a singer and another, the guitarist march ahead of
the line. An example of this traditional work song form is the following which is infused
with politics.
Ako po ay tabi
At ako ay babati
Huwag manununo
Lawit ang buhawi
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Na mga kasama
Aking lalapitan
Ang ating kasama
Na naiiwanan
Laray, laray, laray.
Composo is narrative song form introduced by the following lines.

O mga senyores, pamatii ninyo
Akon iga – asoy ini nga composo
The lyrics of a composo, from Negros and Panay, like the lyrics of the salidum-ay,
binasaynon or baleleng, from songs and tunes of the national minorities can be sung in
different but closely related tunes.
Esmayling is a alitaw song form, which works like a poetic joust with two singers
discoursing on a subject from different viewpoints. Although topics were built on love,
farming and other common village affairs and which performance usually ended in fist
fights reportedly, the esmayling has been the vehicle to popularize revolutionary ideas. One
esmayling (from Samar) is based on this topic.
These songs are heard at mass actions, rallies, demonstrationsagainst military
oppression, confrontation meetings against oppressive landlords, at military training
sessions, educational meetings, and anniversary celebrations, and during festivities
as wedding and victories.
Lyrics of Kundiman
Madaling Araw (Santiago)

Irog ko’y dinggin ang nananambitan
Manong itunghay ang matang mapungay
Na siyang tanging ilaw ng buhay kong papanaw
Sa gitna ng karimlan
Nagmamadaling araw na
At ako ay lawitan
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Ng awa mo’t pagsinta
Kung ako’y mamamatay sa lungkot nyaring buhay
Lumapit ka lang, lumapit ka lang at mabubuhay.
Anak ng Dalita (Santiago)

Ako’y anak ng dalita na tigib ng luha
Ang naritong humihikbi na bigyan ng awa
Buksan mo ang langit at kusa mong pakinggan
Ang aking ligalig sa pagdaramdam
At kung hindi ka mahahabag
Sa lungkot kong dinaranas
Puso’t diwa’y nabibihag sa libing masasadlak
Magtanong ka kundi tunay na kislap ng mga tala
magtanong ka rin sa ulap sa taglay kong dalita.
Bituing Marikit (Music by Abelardo)

Bituing marikit
Sa gabi ng buhay
Ang bawat kislap mo’y
Ligaya ang taglay
Yaring aking palad
Iyong patnubayan
At kahit na sinag
Ako’y bahaginan
Natanim sa puso ko
yaong isang pag-ibig
na pinakasasamba sa loob ng dibdib
sa iyong luningning laging nasasabik
Ikaw ang pangarap bituing marikit
Lapitan mo ako, Halina, bituin!
At ating pag-isahin ang mga damdamin
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Ang sabik kong diwa’y
Huwag mong uhawin
Sa batis ng iyong
Wagas na paggiliw.
Kundiman ng 1800 (Folk Kundiman)

Doon po sa amin
Maralitang bayan;
Nagpata ng hayop
“Niknik” ang pangalan.
Ang taba po nito
Ay ipinatunaw;
Lumabas na langis
Siyam na tapayan.
Ang balat po nito
ay ipinakulti,
Ipinagawa kong silya’t taburete
Ang uupo dito’y
Kapitang pasado at
Lalaking kahalili ng Kapitan.
Himutok (Music by Abelardo)

Dibdib ko’y tumanggap ng matinding sakit,
Sanhi sa pagsinta’t wagas na pag-ibig
Puso ko’y lunod sa dagssa ng hapis
Saan kukuha ng pagtitiis?
Gayong iyong alam na wala ng lunas
sa hirap kong ito kundi and iyong habag
Ano’t natutuwang iyo pang mamalas
Mga mapapait na luhang nanatak
Oh … giliw ko’t aking mutya
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Nasaan ang iyong awa,
Di na makaya pa ang bathin
Ang dulot mong hilahil
Bigyan mo ng pag-asa
Awit ng Magsasaka (Martsa)

Halina, Halika na
Kababayang sinisinta magtulungan
Magkaisa, ang bukirin ay bungkalin at
Hawakan ang araro at magtulong-tulong
Sa lahat ng ani rito
Kata rin ang magsasalo
Lalasapin ang ligaya na sa bukid makukuha
Naririto ang paggawa
At ang tunay na ginhawa
Iwan ang kasiyahan, harapin ang kasipagan
Lubos katang makibagay
Sa takbo ng bagong buhay.
Dalagang Pilipina (Balitaw)

Ang dalagang Pilipina parang tala sa umaga
Kung tanawin ay nakaliligaya
May ningning na tangi at dakilang ganda
Maging sa ugali, maging sa kumilos
Mayumi, mahinhin ang lahat ng ayos
Malinis ang puso, maging sa pag-irog
May tibay at tining ang loob.
Bulaklak na tanging marilag
Ang bango ay humahalimuyak.
Sa mundo’y dakila pang hiyas
Pang-aliw sa pusong may hirap
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Batis ng ligaya at galak
Hantungan ng madling pangarap
Iyan ang dalagang … Pilipina
Karapat-dapat sa isang tunay na pagsinta.
Mariposa - Aliparo (1899) (Danza)

Aliparong babaling-baling
Sa halaman naglalambing
Tigil muna’t iyong dinggin
Ang aking bilin
Pagaypay mo mahahambing
Sa tibok ng aking dibidib
At ang tungo ng lipad mo
Kasunod ng mithiin ko
Baybay ng dagat man masapitan
Kawayanan kaya ang dapuan
Saan-saan ka lang mapauwi
Ibantog moa ng palad kong lubhang sawi.
Ilocano (Translated)
Pamulinawen, please listen to my heart …
My aching heart, happy before you
Think of it, and do not feign slumber
To a lover happy in your presence.
Your smile that I cannot forget
Your name so unblemished
Wherever I go, wherever I am,
When I think of you, my heart lives again.
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No matter how high they climb
And try to reach me,
You cannot say you have come to me
For I am a flower full of honor.
Visayan (Translated)
Sunlight on the rice fields, this gay maya is singing
Sampaguita scents ev’ry breeze in this fine weather.
Dance tinikling’s way while the music is ringing,
Step tinikling’s way, come now, all dancing together.
I Have a Little Bird Taraz (Translated)

I have a little bird, Taraz,
Bagsit, dearest little bird
Whenever someone talks to me,
She stands just in front of me.
Taraz, darling bird, Taraz

Why are you so cross to me?
I would not treat you so well
When you not so dear to me.
If I were not kind to you,

You would have for breakfast frowns,
For luncheon a beating hard,
And for supper kicks and blows.
But you are so dear to me,
For breakfast I give you milk,
At noon a delicious cake,
And for supper, cookies rare.
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I am Angi (Translated)
(Ako Kini Si Angi)
Angi is my pet name,
Dress-making is my trade
All day long till evening
My poor hands are always sewing.
No matter how hard I work
Not a penny can I save;
Alas, I can earn only
Just enough for food and rent.
Pampango (Translated)
(Atin Cu Pong Singsing)
I once had a dear ring
With a precious stone rare.
It was given to me
By my mother so dear:
In my chest it was kept,
It was lost, now I grieve
Bitter tears have I shed,
That in heaven were heard.
Grieving, alone I sit

As I think of my loss,
‘Tis bitter and great
That a vow I have made
Whosoe’er finds my ring
And restores it to me,
My poor heart shall be his,
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To serve him faithfully.
Religious Influence on Philippine Music

The Augustinian fathers introduced varied chants, the Benedictiones emphasized
the uplifting Gregorian chant. The fathers themselves taught their parishioners of Solfeggio
to prepare them for church function. The pelog and Slendro (scale system), the Kulintang
Kudyapi, Kalutang were displaced by the harmonium.
The bamboo organ had 950 bamboo pipes, 22 stops, and 12 pedals.
To enhance the singing of the mass and hymns, the missionaries thought of
instrumental accompaniment. In 1601, the Augustinian father of Liliw, Laguna organized
their own orchestra. In 1643, Fr. Juan de Torres brought some musical instruments from
Spain and organized another orchestra in Manila. In 1870, Fr. Toribio Varas organized the
orchestra which was directed by Marcelo Admay with three of Adona’s brothers as
members. The directorships of this orchestra was later taken over by Fr. Manuel Arastegis.
The Cathedral de Manila organized its own orchestra to accompany its choir at
church functions. Sr. Blas Echegoye was director.
In 1893, a Franciscan, Fr. Cipriano Gonzales, organized the Circulo Musical for the
purpose of promoting European music. Bonifacio Abdon was the youngest violinist of the
group.
From the early period of Christianity, masses in parish churches were accompanied
by orchestra and at times, even by brass bands. This practice was discouraged by the
encyclical, Mata Propio of Pope St. Pius X.
Philippine-Made Instruments
Rondalla
The rondalla has had several names - murga, tuna, comparsa, and estudiantina.
Historically, the rondalla originated in Spain but the Philippine version of the present
rondalla is truly and typically of native ingenuity and creativity. This unique string
ensemble is joined by civic, social, religious, and business organizations as well as
educational institutions including the disabled and out-of-school youth. The rondalla is a
striking musical group in exhibitions, contests, and public as well as private performances.
Instruments
Banduria plays the melody.
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Laud and octavina carry the viola (violin family) and contrapuntal parts. They are
tuned like the banduria but are pitched an octave lower.
Piccolo (optional) plays the embellishments (ornamental passages). It is pitched an
octave higher than the banduria.
Guitar plays the harmony parts. It gives solidness to the rhythm.
Contra bass augments the bass section by its broader, louder, and sonorous tones.
It provides the fundamental ground tones for rich tonal effects.
Bandola, like the contra bass, augments the bass section but it also plays the tenor
and melodic parts. It sounds an octave lower than the octavina.
To ensure varied tonal and rhythmic nourishment, the composer or director adds
some instruments, mostly percussive like the castanets, tambourines, triangles, bass and
snare drums, tom-tom, xylophone, and marimba. In some instances, violins and violas are
used.
Dr. Antonio J. Molina employs about a hundred members in his Rondalla Sinfonica.
Rondalla instruments are made from the best materials. Different kinds of woods are
used for the different parts of the instrument.
Body and side are made from camagong, narra, and nangka.
Top side with the hole is made from pine tree, palo china, or any dried soft wood.
Neck and head are made from calantes and lanite.
Fingerboard is made from the wood that can stand constant use and avoid shrinkage that
causes getting out of pitch.
Strings are made of steel and copper-wounded steel filaments made in the United
States, Spain, and Germany.
Juan Silos Jr. is recognized as the “Father of the Rondalla”. Without finishing a
conservatory degree, he found himself tutoring his barber friends in Sta. Cruz, Manila how
to play the rondalla instruments. The rondalla, a versatile instrumental ensemble plays
varied musical arrangements – from sentimental Filipino folk airs, nostalgic classical
tunes, gay symphonic melodies to the bustling pop melodies of the young; thanks to the
enduring efforts of creative rondalla composers – the likes of Rodolfo M. de Leon and Jerry
Dadap.
The Guitar
The guitar is a string instrument similar to the flute. It is a favorite instrument in
some countries, where it was popular from the 15 th and 17th centuries. The guitar being of
ancient heritage, was also a favorite of the Spanish and Moorish musicians during the
Renaissance who had a large repertoire in smaller forms, now restored to the concert stage
by the school of so-called “classical guitarists”.
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The guitar is widely used as an accompanying instrument for vocal renditions of folk
and popular music and at present, it has occupied a very important position in the
rondalla as a bass and chordal instrument for harmonization.
The modern guitar has six strings (vertically arranged) with are tuned: E A D G B E
From E to A, A to D, D to G, G to B, B to E, there are four intervals and from G to B,

there are three intervals. Guitar music is notated an octave higher than it sounds.
The neck of the guitar is divided traversely into 18 to 20 divisions by metal lines
called frets or bars, horizontally arranged on the finger board. Tones of the guitar are
produced by picking the strings (made of metal of nylon) with the ends of the fingers in
close proximity to the fret. The shorter the distance, the higher the pitch.
The banduria, the equivalent of the violin usually has twelve strings tuned in pairs.
This one has fourteen strings.
The laud, like the octavina, is also a violoncello but its tones are opaque while those
of the octavina are brilliant.
The mandola is an instrument introduced by Prof. Juan Silos, Jr. to reinforce the
low voices of the laud and octavina.
The octavina, a violincello is used only in the Philippines.
Musikong Bumbong
Popularly known as Pangkat Kawayan or “Singing Bamboo”, this indigenous musical
band have brought honor and pride to the country as well as fame to the conductor,
participants, and organizers.
This unique band was initiated by Miss Laura R. Gorospe, principal of Aurora A.
Quezon Elementary School in Quezon City, who saw the opportunity to revive and develop
an almost neglected aspect of our native instrumental music, the musikong bumbong, to
arouse in our people love for native music which is truly our own, to utilize the talents of
the young, and to encourage good use of leisure.
Pangkat Kawayan had its beginnings on Oct. 22, 1966 with fifty boys and girls, aged
8-12.
The bamboo instruments produce standard tones that are chromatically scaled to
two octaves. Four children play the same notes at the same time to produce the desired
tone. Tonality depends upon the length, thickness, and maturity of the bamboo.
The position of the lips in blowing and the amount of air passing through the
bamboo tube affect greatly the quality of the tone.
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Figure 29. Brass Wind Instruments
42
Figure 30. Woodwind Instruments Figure 31. Stringed Instruments
Figure 32. Percussion Instruments

The instructor and conductor of the band is R. Victor C. Toledo, who also arranges
the musical score. The band specializes in Filipino folksongs but also plays foreign music
for variety.
This novel band has played extensively in the country and foreign lands. It conducts
a series of public performances for radio and television and is often requested to perform in
cultural programs.
Musikong Bumbong Instruments
1. Talonggating
2. Xylophone
3. Bamboo Tube (Varying Tubes)
4. Bamboo Bars (native version of the marimba)
5. Galumay or Six hole flute
6. Bungkaka or Clapper
For greater rhythmic accent, the supplemental instruments used are the gong,
drum, and cymbals.
Kalatog – Pukpok
“Kalatog – Pukpok“ is the Ateneo Grade School rondalla, the instruments of which
are made from Philippine forest products. Members of the unique band are the pupils from
grades II – IV.
Godofredo Areza, faculty member of Ateno Grade School, through various classroom
experiment on sound productions effected the “kalatog-pukpok”. The word “kalatog” was
inspired by “tuba” (wine from coconut) gatherers as they struck the tubes attached to the
43
coconut flower to determine the fullness of the sap, which flow to the bamboo tubes,
produce different sounds. Pukpok means to strike of percussive quality.
Children in their classroom science classes discovered the scientific principle in the
production of sound from ordinary objects like wood, bamboo, coconut shells, soft drink
bottles, and medicine bottles.
Jose Palma
A soldier and a poet who wrote “FILIPINAS”, the beautiful words of the Philippine National
Anthem.
How to Appreciate Music

Music like any art, has well-designated principles of structural arrangement. Good
form consists of artistic balances – repetition and contrast – to achieve unity and variety.
Unity is essential for clarity and variety to avoid monotony. This is true of the simplest
song to the grandest, most elaborate symphony.
A phrase is the structural unit of the song. A phrase in a song is like a line of poetry.
Phrases usually come in pairs – antecedent and consequent similar to questions and
answer of a dialogue.
Longer songs frequently consist of parts or short song in contrasting moods.
To appreciate a composition, observe carefully the form, for such study will repay a
person added interest and pleasure. Observe also these same principles of structure in
instrumental music.
Ear training is the foundation of listening to music. This includes ear training to
hear these notes distinctively and accurately and developing comprehension to recognize
melodies, rhythmic and harmonic relationship of sounds, as well as the power of retention
to increasing large portions of a musical composition.
Some pointers:
1. Listen to a song of series of chords. Discover the key note.
2. Follow the melody as it is repeated using different voices or instruments.
3. Recognize the pattern of rhythm.
4. Discover how the singer or player presents the meaning with greatest clarity, effect,
and beauty.
5. Effective use of singing voice means: developing pure vowel sounds, clear
enunciations as in speech, consonants, must not obstruct the tone of vowels,
flexible lips and tongue, an open throat, relaxed muscles, good posture, an even
steady support of tone, the maintenance of pleasant quality throughout chest, nasal,
and head tones.
6. Appreciation includes recognition of the knowledge of style and background of the
music and its correct “interpretation” such as the classical music need not be sing
or played “romantically”.
7. Musical pleasure evolves from intelligence and knowledge of musical vocabulary,
such as:
Absolute Music - instrumental music which does not suggest or tell a story (program
music)
Ad libitum - “ad-lib” to be performed with freedom of interpretation
Arpeggio - harp-like playing of notes played in quick succession
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Cantabile - in a singing style
Dolce - sweetly
Encore - again, repeated by request
Ensemble - combination of performers
Expressivo- expressively
Fugue (fūg) - an orderly contrapuntal treatment of a theme for three or more parts
Legato - smooth and sustained
Maestoso - majestically
Medley - succession of melodies
Opus - work
Postiude - instrumental conclusion of a song
Prelude - a musical number preceding a song
Rondo - an instrumental composition in which the principal theme occurs several times
with intervening contrasting themes
Scherzo - a joke, hence a piece of playful or humorously played music
Simplicy - simply
Sestet - a group of six performers
Sonata - an instrumental composition usually in four movements
Sostenuto - sustained
Staccato - detached, disconnected
Syneopation - displacement of accent, strong beats were weak ones are expected
Theme - a brief melodic idea out of which a musical work grows
Unison - singing of same notes
Vivace - viciously
45
Content / Concept:
Unit 3
Music
1. Brief History
2. Elements of Music
3. How to Appreciate Music
4. Music Literature
Key Organizing Question:

What is the relationship between the lyrics and the rhythm in a song?
Performance I Performance II
46
1. Sing the National Anthem with 1. Select a local script or one from
feeling. Ask yourself about the the book line – “The World is an
general theme of the anthem. Apple” or “New Yorker from
What phrases suggest the theme? Tondo”.
2. Give the beat (time signature) of 2. Adapt musical scoring by way of

the anthem ; how it is conducted studying the script and identify
and demonstrate the strong the song.
accounts.
3. Discuss (oral and written) why
3. Analyze the melody. What musical you have selected it.
phrases are repeated? Where does
the variation of the tune come in?
4. Give as many examples of musical

instruments. Distinguish between
Western and Philippine-made
ones.
5. Have you attended a concert

before? Classify it as classical,
concert, marching band, chamber
rock band, or symphonic.
6. Analyze how a singer expresses
her emotions through songs. What
makes her a good singer? Explain.
7. Discuss your taste in music.

Would you be willing to listen to
other types of music? Why?
Unit 4
DANCE

1. Understand the different foreign dances and their distinct feature
2. Associate the dances sequence to the peculiarity of the period, place, and culture
3. Present a local or foreign dance
47
Figure 33. Bharta Natyam Dance
A religious-based drama dance characterized by expressive use of eyes and face, as well as
elaborate symbolic use of arms and hands originated in Southern India in the 5 th century.
Dance
Brief History
Dance is an expression in rhythmic movement of an intensified sense of life, arising

from inner perception that stimulates both mind and body. When dance as simple
emotional expression develops into a design – a planned organization of a pattern of
movement in rhythm, in space and on the ground, with its set of steps, gestures and
dynamics – it becomes a specific dance. When this specific dance becomes a group of
dances, stylized in a common design, it becomes a dance form. Dance forms, which may
take centuries to develop, reflect the customs of the society in which they evolved.
Depictions in prehistoric cave paintings in Europe suggest that some form of dance
already existed during the Paleolithic Period. In the long, ensuing interrelation between
dance and society, the dance has served many purposes: expressions of superstition,
prayer, ritual, ceremony, social pleasure, entertainment, and art. Dance as participation,
where the emphasis is on social expression in dance form, is termed commercial dance;
dance as spectacle, where the emphasis is on professional expression of a dance formed is
termed theatre dance.
Classification of Dance
 Communal Dance
In primitive early tribal cultures dance was a methodology for survival.
Confronted by an environment that could be rationally controlled nor evaded,
members of these tribes sought to transcend the consciousness of self by achieving
an ecstatic state, in which they would arrive at a mastery over evil spirits through
their dance.
 Primitive Dance
The search for magical mystery over nature through loss of self is the
distinctive characteristics of primitive dance. The ecstatic state was reached by
48
repetition of monotonous movements in powerful rhythm – the rhythmic beat to
every movement, usually accompanied by drums; the hard stamping of the feet
upon the ground with bent knees; and the continuous, prolonged repetition of the
basic movements. In the leap dance of Africa, in the whirling dances of primitive
Asian tribes, or in the convulsive dancing of the shaman cultures, the purpose was
the same; or to reach a mystical condition in which the individual could
communicate directly with the supernatural and in which the powers of the
supernatural could work through the individual.
 Ritual Dance
The distinction between primitive dance and ritual dance is that the latter is
conscious dance, organized volitionally in its design, purpose, and meaning. Ritual
dance represents a much later societal development, a level of civilization where
dance celebrated by mythology rather than magic, like in the rites od Dionysus in
Greece. Greek ritual dance during the period was characterized by gentler forms of
choral dance (round, chain, and professional dance), reflecting the Greek aesthetic
emphasis on harmony and on idealization of the human body in natural rhythmic
movement.
 Folk Dance
Folk dance developed from the racial or regional memories of older motifs in
communal dance and reflected social and recreational expression. Thus the chin
dance, the professional, the whirling dance, and the circling dance all become
characteristic of European folk dance. Folk dance is basically repetitious and limited
in scope. It achieved its own line of development in its transformation to social
dance in Europe during the Renaissance.
 Social Dance
Coupled dance emerged in the 15 th century Europe in a variety of vigorous
adaptations and refinements of folk dance developed by the dancing masters of the
time. These new dances are gay and lively in character and was developed first as a
social diversion among the aristocracy of France and Italy. Later on it expanded to
become, in the later centuries, part of the social life of the emerging middle class as
well.
WALTZ (1750 – 1900), when danced with its gliding turns, brought a new intimacy
to social dance. There were of course other dance styles in each period. The courtly
PAVANE and stately SARABANDE were rivals of the galliard; the contradance and
QUADRILLE completed effectively with the minuet; the POLKA and the MAZURKA
challenged the supremacy of the waltz.
From the end of the 19th century, social dance developed in the United States. The
introduction of the two-step in 1891 was followed by the CAKEWALK in 1893, in turn
followed by RAGTIME MUSIC. Vernon and Irene Castle, in the decade from 1910-1920,
enchanted both Europe and America with their famous dance exhibitions of the TANGO
(derived from Argentine folk dance), and the FOXTROT. The African-American influence in
jazz dominated in the 1920’s with the shimmy and the CHARLESTONE, a form of jitterbug.
The 1930’s incorporated Latin American rhythms, with the RUMBA, CONGA, and SAMBA.
In the mid-1950, the dramatic emergence of ROCK ‘N ROLL changed popular music.
49
DISCO dancing in the 1970’s returned to couples together executing often complex,
choreographed dance moves. BREAKDANCING – STRETDANCING that combined acrobatic
and martial arts movements – achieved popularity in the 1980 and the Lambada became a
craze in 1990.
The role of the composers of popular dance music in this development cannot be
overestimated, nor can the many other elements that popularized American social dance
throughout the world during the first half of the 20 th century. Major influences were
VAUDEVILLE, a musical comedy, films with such dancing stars as FRED ASTAIRE and
GENE KELLY. Further reinforcement came from the accompanying technology, such as the
mass impact of dance music on radio, records, and tape and dance images on television
and most recently, music videos.
Theatre Dance: Ballet

Ballet is a dance system based on a set of classic, fundamental principles of
movement and training that govern every aspect of its form and technique.
 French Ballet
Ballet originated in Italy, in the princely courts of the 15 th century. In 1581 the
Ballet Comique de la Reine was produced at the court of King Henry II and Queen
Catherine de Medicis of France. It was the first production to combine dancing, music, and
acting around a central theme. It stimulated the dedication of the French kings to ballets,
intensified during the successive reigns of Louis XIII and Louis XIV, when the ballet de
cour (court ballet) came into being and quickly dominated all European royal and ducal
courts. Louis XIV become the most potent single influence in the development of ballet
when he established Academic Royale de Dance in 1661. The Academic Royale de Musique
in 1669 survives today as the Paris Opera. The trend toward professionalism then began –
in training, technique, choreography, and music for ballet.
During the period from 1750 to 1800, the age of the great choreographer and
theorist Gean Georges Noverre, the ballet d’action, which sought narrative coherence, was
50
introduced. By 1830 ballet had entered a new phase that a wealthy new middle class came
into prominence in France, and ballet began to appeal to a larger audience. Roman ballet
reached its height in 1841 with the production of Giselle at the Paris Opera – a ballet
totally unified with the theme, choreography, music, and narrative. The female dancers of
the romantic period assumed the dominant role of ballerinas which enthralled ballet
audiences for generations.
 Russian Ballet
The Imperial School of Ballet was founded in Saint Petersburg (then
Leningrad) in 1738 but did not receive official patronage until 1766, when Catherine
II established the directorate of imperial theaters, roughly a century after Louis XIV
had established the Paris Opera. The most brilliant impresario of Russian ballet was
Sergei Diaghilev, who formed the international Ballets Russes de Sergei Diaghilev.
Its debut in Paris, on May 19, 1909, changed the course of ballet history.
 World Ballet
The United States, Great Britain with its Royal Ballet and the USSR, with
Bolshoi Ballet in Moscow and the Kirov Ballet in Leningrad, have the best known
companies and the largest audiences, but there are important ballet companies
throughout the world that continue to re-create the classics while being enriched by
contemporary repertoire.
Eastern Dance Forms

The dance of India is essentially one of its symbolic gestures. The Bharata Natyam, a
dance system with movement and gesture derived from the Natyasastra, written by the
ancient sage Bharata, offers not only an entire repertoire of complex movements for the
hands, limbs, and torso, but includes a set of 36 instructions for glances, to be used in
expressing a range of emotions and thhoughts.
Three other dance forms contribute to the mainstream of theater dance in India. All
originated in either religion or folklore, or in blinds of both. These are Kathakali, a dance
drama of Hindu mythology; and Kathak, a strongly rhythmic dance, with accelerated foot
tapping and dynamic turns and manipuri, a dance of vigorous movement and acrobatic
agility. They play significant roles in the contemporary forms of theater dance in India.
Indian influence has been widespread in dance, blending with indigenous religious
and folklore traditions. Some representative examples are the fire dances of Sri Lanka; the
wayang-urong of Java, an extremely polished dance-drama theater piece; and the Legong of
Bali, a pantomime dance in which the body is simultaneous continuous movement, from
eyebrow to feet. Chinese influence in also apparent in Southeast Asia, as in the dance of
Cambodia and Thailand, which although in the tradition of mythological dances of the
Indian Kathakali are more action-oriented.
In China, Beijing Opera is a fusion of drama and song, where every dancer is also
actor, singer, and acrobat, and each has an independent set of hand gestures and
movement patterns designed for the specific role performed. In Japan, preservation of the
cultural past governs theater dance, as in the highly refined art form of NOH DRAMA and
the popular expression of KABUKI.
51
Western Ethnic Dance
There are a great number of notable ethnic dance companies in contemporary
theater, well-known are the Moiseyev Dance Company of the USSR, the Inbal Dance
Theater of Israel, National Folk Ballet of Yugoslavia, Danzas Valenzuela, Bayanihan
Philippine Dance Company, and Ballet Folklorico de Mexico.
The oldest and the most illustrative example in the West of a theater dance that has
retained its folkloric base is Spanish Flamenco. Technically, it is the footwork in Spanish
dance that is most characteristic – the striking of the toe, the heel, and the full sole in a
variety of tonic and rhythmic combinations, accentuated by the click of castanets and the
rhythms of an accompanying guitar.
Modern Dance
This was a dance form introduced by the unique performances of Isadora Duncan at
the turn of the century. MODERN DANCE is in fact neither a form nor a technical system.
It is a point of view that stresses creative individuality in choreography and dance
execution. In 1915, Ruth Sr. Denis and Ted Shawn founded the Denishawn School in Los
Angeles, an event generally considered to be the beginning of modern movement.
How to Enjoy and Evaluate Dance

Dance is an art movement; it is an ordered energy springing from imitation of the
movement of life of the stars, succession of night and day, the movement of the planets.
Whatever form or “function” of dance be it ethnic or tribal, social, and “exhibition” (theater),
it is an expression of a wide range of human emotions, and the communication and release
of tensions, and can thus be therapeutic.
First, consider dance as the oldest art where the body is the instrument of the artist.
A woman’s or man’s character is revealed in the dance often, his or her culture become
reflected in the way he / she moves.
Second, watch movements as a form of three-dimensional art or “drama in mobile
sculpture”. Movements are so universal that they do not need translations.
Third, categorize dances as ethnic or folk, social or popular, and spectacular or
theatrical. The first two may require public participation as these are dances associated
with traditions of people. The second are popular dances with energetic young people as
exponents – whether these are of the swing, foxtrot, or waltz variety. Most recently, the
trendy dances include Africa, Latin and “gymnastic” rhythms and movements as in “dance
sports” (tango).
Fourth, for spectacular dances, analyze each dance as a composite of these:
movement patterns, choreography, technique, musical accompaniment, costumes, props,
and other stage properties.
The theme refers to the subject or plot – since dances also tell stories, like ballet.
Examples: Peter and the Wolf (Prokofiev)
52
The Firebird (Mussorgsky)
Swan Lake (Tachaikowsky)
The movement patterns can be organized according to basic steps and their
repetition, variations, and contrast. The movements are shown in an effortless harmony of
feet, body, face, and hand gestures – beautifully coordinated according to a planned
choreography and individual style. Movements are seen in different planes from low,
medium to high.
The techniques refer to whether the execution is easy or difficult, according to the
dance interpretation.
Most dances are accompanied by music – recorded or live and enhanced by visual
appeal like costumes, props, and scenery. All present an overall dramatic theatrical effect.
Philippine Folk Dance
Figure 35
Ifugao dance which is a part of a ritual called “baki”
Philippine Folk Dances

The graceful art of dance is seen among Filipinos. These are dances and songs that
are performed with attires and gong music especially played by tribal communities.
Basically, Filipinos are music lovers as well as good dancers. To them, dancing is an
effective form of entertainment. Our folk dances are influenced by Spanish and European
influences and these are Habanera, Malaguena, and Katalonan. Some dancers are so
named because we reinvented European dances while there were those that got names
from the objects they used in the dance like the “Zapatilla”.
Still some dances insinuate Filipino traits like the Carińosa and others. Some dances
depict customs and traditions of a given region and among these are: (1) Alay which
is a dance in the Tagalog region performed to welcome or honor a guest. It is derived from
53
its name “alay” which means an offering. The female dancer wears a balintawak-style
costume and step-in, while the male partner wears barong-tagalog with white or colored
pants and slippers; (2) Escotis is a Viasyan filk dance during social functions by the
people of Panay where the female dancer weas a siego skirt and the male dancer wears a
Camisa de Chino with pants of any color. Both dancers are barefooted; (3) Lagundi is
another Visayan dance that began in Iloilo. The name is derived from a lagundi medicinal
plant – a cure for stomach aches, arthritis, and other common ailments. In this dance, the
female performers wear patadyong, kimono, and soft panuelo over the left shoulder while
the male partners wear barong and colored loose pants; (4) Singkil is a dance originated
from Lanao del Sur. It uses bamboo poles clapping rhythmitially while the dancers weave
expertly thorough criss-crossed bamboo and are dressed in elegant and colorful Muslim
costume, waving big fans, and the men flipping brightly colored handkerchief to their right
and left with dignified pose. Fist the beat is slow and then later it progresses to faster
tiempo. The Singkil differs from the Tinikling, though both use bamboo poles because the
tinikling has uniform gay rhythm from the beginning to the end of the dance; (5 )
Tinikling for a time was the Philippine national dance and is performed by skipping
between bamboo poles adapted from the movements of the “tikling” birds. The dancers are
dressed in the native costume – the female dancers in the “balintawak” and the male ones
on “barong-tagalog”; (6) The Obando dance is so named after a town in Bulacan called
Obando. The dancers are also garbed in native costume where the female dancers are in
“balintawak” with “salakot” and the “barong-tagalog” and “buntal” hat are worn by male
dancers; (7) Palakis is a courtship dance from Western Bontoc and are performed during
wedding celebrations (Cańao) and planting/harvesting seasons (Begnas). The
performers/dancers are dressed in the traditional Bontoc costume where each dancer has
a piece of brightly colored cloth about a square meter held and shaken to convey emotions
like an appeal or flirtation; (8) Pandanggo sa Ilaw is a skillful and graceful dance
because it requires a sense of balance in order to hold in place the lighted candles inside a
glass of water held by dancers while performing the dance sequence; (9) The Ifugao
dance is executed by the mountain people as part of their ritual using gangsa (a flat brass
gong); (10) Ati-atihan dance festival in Aklan is celebrated in January all troughout the
province. During the celebrations of their Patron Saint – Santo Nińo, the natives paint
themselves in black and dance in the streets to the beat of drums and other instruments
while shouting “Hala Bira” which means “go ahead and strike”.
Famous Filipino Dancers

1. Francisca Reyes Aquino - Folk dance pioneer
Lolomboy, Bocaue - National Artist for Dance – 1973
Born on March 9, 1899
2. Leonor Orosa Goquingco - National Artist for Dance – 1976

- ASEAN Awardee for the Performing Arts
- Presidential Medal of Merit
- Manila Cultural Award
- Mother of Philippine Theater Dance
- Pioneer Filipino choreographer in balletic, folkloric,
and Asian styles
54
3. Lucrecia Reyes – Urtula - National Artist for Dance – 1988
- Choreographer, dance director and the creator of
Bayanihan’s repertoire
- ASEAN Tourism Association for Best Asian
Cultural Preservation Effort, Pattaya, Thailand
(1990)
- Republic Cultural Heritage Award for Research in
Folk Dance
Content / Concept:
Unit 4
Dance
1. Brief History
2. Classification of Dance
3. How to Enjoy and Evaluate Dance
4. Philippine Dances
5. National Artist for Dance
Key Organizing Question:
How does dance create / communicate distinct characteristics of time, place, and
culture?
Performance I Performance II
You are an adviser of a dance company Select a Filipino poem and then adapt it to
55
looking for talents. Go to a depressed area music and dance in the form of poetry in
and then train at least two students on a motion like for example the “Hymn of
selected dance like the chacha. Labor” of Rizal.
56
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Republic of the Philippines

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College of Arts and Sciences

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1 single space of size 18

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Bachelor of Science in Biology

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A research-based academic institution committed to excellence and

Romblon State University shall nurture an academic environment

The College of Arts and Sciences is committed to provide relevant

College of Arts and Sciences

Arts and humanities

Bachelor of Science in Biology

VANZ RUSSEL I. FONTAMILLAS

Fundamental to the studies of Humanities is the necessity of the art and

As we explore earlier cultures of the world including our own culture, we

Arts are defined by history and historical process. The aesthetic

The Module in Arts and Humanities for Bachelor of Science in Biology

COURSE OUTLINE: Arts and Humanities

Unit 1- INTRODUCTION TO ARTS AND HUMANITIES

2.13 Neo-Classicism Painting-----------------------------------------

Unit 4- Dance ---------------------------------------------------------

1. This is the quality of opposing or No ♠ ♣ ♥ ♦ ☯ No ♠ ♣ ♥ ♦ ☯

At the end of the course, you should be able to:

As we explore earlier cultures of the world including our own culture, we

1.1 Content/ Concept Standards for the Art Appreciation

For the arts to function as an instrument in developing the capabilities of the

1.3 Definition of Humanities

1.4 Role of Humanities in Man's Life

1.5 General View of the Arts

1.6 Nature of Art

1.7 Functions of Arts

Functional. This is the classification of the art according to its usefulness.

1.8 Methods of Presenting the Art Subject

The technique or method of presenting an art subject is assessed according

1.9 Principles of Aesthetic Form

1. Organic Unity and Unity in Variety

This means that each element in a work of art is necessary to its

2. Theme and Thematic Variation

1.10 Basic Elements of the Arts

Elements of the Fine Arts

1.11 Assessing A Work of Art

Universality is the quality of an artwork that should answer the

1.12 Elements of Painting

 Static - because it suggests stillness

 White -pure, innocence, emptiness, calm, indifference

1.13 Medium of Arts

(3) (2) (1)

based on his/her life experiences, learned values, personality, and character.

also share the same belief.

At the end of the course, you should be able to:

2.1 Brief History

2.2 Egyptian Painting

2.3 Greek Painting

2.4 Roman Painting

2.5 Early Christian Painting

2.6 Byzantine Painting

2.7 Romanesque Painting

2.9 Renaissance Painting

2.10 Mannerism Painting

2.11 Baroque Painting

2.14 Romanticism is characteristic of art works presenting idyllic landscapes,