MODULE-Arts Appreciation - First Sem - SY2022-23

ART APPRECIATION
COURSE MODULE
Ramil T. Lanuza
Assistant Professor
College of Engineering and Technology
SY 2022-23
First Semester
GE 6 Art Appreciation : College of Engineering and Technology Page 1 of 29

VISION
A provide of relevant and quality education to a
society where citizens are competent, skilled,
dignified and community- oriented.
MISSION
An academic institution providing technological,
professional, research and extension programs to
form principled men and women of competencies
and skills responsive to local and global development
needs.
QUALITY POLICY
Northwest Samar State University commits to
provide quality outcomes-based education, research,
extension and production through continual
improvement of all its programs, thereby producing
world class professionals.
CORE VALUES
Resilience. Integrity. Service. Excellence.
INSTITUTIONAL GRADUATE OUTCOMES

Creative and critical thinkers
Life-long learners
Effective Communicators
Morally and socially upright individual

About the Professor
Ramil T. Lanuza is an Assistant Professor of Northwest Samar State University

(NwSSU) Main Campus, Calbayog City, Samar. He earned his Bachelor of Arts
degree major in Philosophy in St. Vincent De Paul College Seminary. It was in
2006 that he worked as part-time lecturer at NwSSU and the same time finished
his Master’s degree major in Public Management in the same university. Just
recently he received his Certificate of Academic Requirement(CAR) for his
Doctoral studies , and working his Dissertation to finally earn his degree in
Doctor of Management. At present he is a regular faculty member of NwSSU
where he taught Philosophy, Humanities and other Social Sciences subjects. He
participated in the Second Generation CHED training on the teaching of the
General Education Course on The Contemporary World.

Table of Contents
Module 1: The Meaning and Concepts that Constitute an Arts
The Importance, Meaning and Assumption of Art ……………………………………………….
Subject and Content of Art ........................................................................................................
Artists and Artisans....................................................................................................................
Elements and Principles of Art ..................................................................................................
Activities and Exercises…………………………………………………………………………..

…………………………………………………………………………………………………….
Module 2:
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Module 3
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Rationale
The purpose of this course module is to provide students with knowledge and
understanding of Art Apprehension. It contains three (3) modules to compress and for
easy comprehension of the huge content of the syllabus. Before reading the lessons, the
module outcomes are presented so that students will know of what is expected from
them after completing the module. After reading all the topics, students are required to
answer the activities/exercises to assess the knowledge and learning that they have
gained. In addition to said activities/exercises, a research work or major exams which
will be taken personally (if permitted by the administration) and other requirements to
comply in order to give students an opportunity to apply the concepts and theories that
they have gained in their readings. Detailed instructions for the activities/exercises and
other paper works will be given in a separate on-line dissemination to make it practical
and feasible for them to work.
Through this module, the professor will be guided how to impart his lesson and for the
students to avail of learning during the “new normal”. It introduces the course contents
and carry out the traditional classroom’s methods in its delivery of lessons in a new and
best ways.
The lessons are delivered through readings of the text materials found in this module.
The reading materials aptly illustrate the content of every topic wanted to impart to the
students. Aware of the great extent that the subject could cover, the module encourages
readings and other materials beneficial to the course. Learning is determined and
enhanced through activities/exercises appropriated to every topic.
The module contents are eclectically formed from varied sources (references) to which
this work is indebted for by acknowledging them herein.

Course Title: Art Appreciation
Course Description:
This course develops students’ ability to appreciate, analyze, and critique works of art.
Through interdisciplinary and multi-modal approaches, this course equips students with
a broad knowledge of the practical, historical, philosophical, and social relevance of the
arts in order to hone students’ ability to articulate their understanding of the arts. The
course also develops students’ competency in researching and curating art as well as
conceptualizing, mounting, and evaluating art productions. The course aims to develop
students’ genuine appreciation for Philippine arts by providing them opportunities to
explore the diversity and richness and their rootedness in Filipino culture.
This course includes the mandatory topic on taxation.
Course Outcomes:
At the end of the course, the students must be able to:

1. Demonstrate an understanding and appreciation of arts in general, including their
function, value, and historical significance
2. Define and demonstrate the elements and principles of design
3. Explain and evaluate different theories of art
4. Situate Philippine arts in a global context
5. Analyze and appraise works of art based on aesthetic value, historical context, tradition
and social relevance
6. Mount an art exhibit (concept development, production and post production, marketing,
documentation, critiquing)
7. Create their own works of art and curate their own production or exhibit
8. Utilize art for self-expression and for promoting advocacies
9. Deepen their sensitivity to self, community, and society
10. Discover and deepen their identity through art with respect to their nationality, culture,
and religion
11. Develop an appreciation of the local arts
Timeline/Duration : 18 weeks or 54 hours in a semester
Course Content:
The course is organized according to the three (3) main points of emphasis pertaining
art appreciations: introducing the importance, meaning and content of arts; the historical
development of art; soul-making, appropriation, Dream and soul, and Historical
Development of Philippine Art.

Week Course Outcomes Topics Assessment
Orientation :
1 - Provide thorough The Students are oriented to Asking
information to the students the VMGO of the University feedback
regarding the university and from the
the course they are taking The students are oriented to the students
up. course they are taking up. regarding
the things
The students are introduced and they got
informed regarding the from the
requirements of the course. orientation.
Module 1: The Meaning and

6 -Demonstrate an
Concepts that Constitute an Art
understanding and
appreciation of arts in
general, including their Pencil and
function, value, and The Importance, Meaning and paper test,
historical significance Assumptions of an Art essay, and
case study
Subject and Content of Art analysis
-Define and demonstrate
the elements and principles and other
Artists and Artisans
of design written
activities
-Discuss art concept Elements and Principles of Arts
development, production
and post production,
marketing, documentation
and critiquing.
Course Requirements:
In general, the requirements of the course are as follows:

▪ Submission of Activities/Exercises/Assignment
▪ Research works
▪ Quizzes and exams (passing rating)

Grading Criteria:
Whichever is Practicable and Applicable in the “New Normal”
A. The grading criteria below applies when the University Administration would
NOT allow students to come to school to take personally the major exam.
Requirement/Assessment
Percentage
Task
Research works /Outputs 50%
Exams/exercises/quizzes 30%
Class Standing (attendance,
participation on discussion 20%
and activities)
TOTAL 100%
B. This grading criteria applies when the University Administration would allow
students to come to school to take the major exams.
Percenta
Requirement/Assessment Task
ge
Major Exams/quizzes/exercises 40%

Research works/outputs 40%
Class Standing (attendance, 20%
participation on discussion
and activities)
TOTAL 100%
References:
Benton, J.R. & DiYanni, R. (20005). Arts and culture: An introduction to the humanities (2 nd ed.). New
Jersey: Pearson -Prentice Hall.
Fichner-Rathus, L. (2013). Understanding art 10th Edition. Boston, USA: Wadsworth Cengage Learning
Gazzingan, L.B, & Panisan, W.K. (2015). Art appreciation: Nature, function and appreciation of the arts
in the contemporary society. Malabon City: Mutya Publishing House , Inc.
Kleiner, Fred S., (2012). Gardner’s art through the ages: A concise history of western art. 3 rd ed.
Boston, USA: Cengage Learning
Narciso, Norman F., (2016). Soulmaking: A creative process. Davao City: Aletheia Publications
Panisan, W.K., Gazzingan, L.B, Samar, G.L., Boongaling, C,G., (2016). Contemporary Philippine arts
From the regions. Malabon City: Mutya Publishing House, Inc.
Panisan, W.K., Ebit J. G, et al.,(2019). Art Appreciation. Mutya Publishing House, Inc.

Module 1
Module Title: The Meaning and Concepts that Constitute an Art
Module Outcomes:
At the end of this module, you are expected to:
1. State the meaning and importance of an art;
2. Explain the assumption of art and its basic philosophical perspective;
3. Analyze how artists present their subjects in relation to the real subject;
4. Differentiate content from subject;
5. Define the role of managers, curators, buyers, collectors, and art dealers in the
artworld.
6. Explain the three stages in the creative process.
7. Analyze the various elements present in visual and auditory arts;
8. Identify the various elements and genres in music.
Topics and Discussions:
A. Importance, Meaning, and Assumptions of Arts

Meaning of Art
Etymologically, art is derived from the French word “art” which means skill as a
result of learning or practice, and the Latin word “ars” an ability or practical skills. The
word art covers many meanings, including ability, process, and product. As ability, art is
the human capacity to make things of beauty and things that stir us—it is creativity. As
process, art encompasses acts, such as drawing, painting, sculpting, designing building,
singing, dancing, and using the camera to create images or memorable works. As
product, art is the completed work—an etching, a sculpture, a structure, a musical
composition, choreography, or a tapestry.
Arts defined in various ways:
Plato, “art is that which brings life in harmony with the beauty of the
world.”
John Dewey, “art is an attitude of spirit, a state of mind-one that
demands for its own satisfaction and fulfilling, a shaping of matter to new and
more significant form.
Oscar Wilde, “art is the most intense mode of individualism that the
world has known.
Elbert Hubbard, “art is not a thing---it is a way.
Common Essentials of Art:

1. Art has to be man-made.
2. Art must be creative, not imitative.
3. Art must benefit and satisfy man.
4. Art is expressed through a certain medium or material by which the artist
communicates himself to his audiences.

Art History
The study of objects or works of art in their historical development and
stylistic contexts, i.e., genre, design, format, and style. This includes the “major”
arts of painting, sculpture, and architecture, as well as the “minor” arts of
ceramics, furniture, and any other decorative objects. It is in the study of objects
of objects of art in their historical development and stylistic contexts, format,
and design that we may able to understand the purpose of the work of art and
appreciate it.
Assumptions of Art
Art is Universal
Art is everywhere; wherever men have lived together, art has sprung
up among them as a language charged with feelings and significance. Art has
no limit, and it rises above cultures, races, and civilization. It is timeless
because it goes beyond the time of our existence.
Art is Not Nature
Art is man-made; it is a creation of man utilizing his thoughtful skill
and artistry, undergoes process and planning. Art is artificial because it is just
an imitation or even an appropriation of reality and nature.
Art Involves Experience
Art is depiction of our experiences. It demands taking part. We can
only appreciate art if we spend time to look at it, listen to it, touch it, and feel its
presence.
FUNCTIONS OF ART
1. Personal -the artist tries to express his personal feelings through the art work.
2. Social -art bridges connection among people.
3. Cultural Function- art helps preserve, share, and transmit culture of people from
one generation to another.
4. Aesthetic Function- art becomes influential for man to be aware of the beauty
of nature.
5. Spiritual Function- an artwork is used for spiritual gain. It helps one experience
of communion to the divine.
Basic Philosophical Perspectives of Art

1. Art as mimesis (Plato) – art is an imitation of the real that was an imitation of the
ideal.
2. Art as Representation (Aristotle) – the aim of art is not to represent the outward
appearance of things but their inward significance.
3. Art for Art’s sake (Immanuel Kant) art has its own reason for being. It implies that
an art object is best understood as an autonomous creation to be valued only
for its success as it organizes color and line into a formally satisfying and
beautiful whole.
4. Art as an Escape – The art elevates our very existence for it does not only
transforms something into art but also transforms the artist at the very core of
his or her being.
5. Art as Functional – art serves a function may it be for spiritual enrichment,
educational, cultural and so on.

Categories/ Classifications of Art
1. Visual Arts (2D, 3D)

a. Painting – It is the application of pigment (color) on any flat two-dimensional
surfaces.
b. Sculpture it is the curving, modelling, casting, constructing, and assembling of
materials and objects into primarily three-dimensional works of art.
c. Architecture- it is the art and science of planning, designing, and constructing
buildings and nonbuilding structures for human shelter or use (3D).
2. Performing/ Combined Arts

a. Music – is an art form and cultural activity whose medium is sound organized
in time.
b. Dance – is the movement of the body in rhythmic way, usually to music and
within a given space for the purpose of expressing an idea or emotion.
c. Film – also called movie or motion picture, is a series of still images that when
shown on a screen creates an illusion of moving images.
d. Theater – is a collaborative form of art that uses liv performers, typically actors
or actresses, to present the experience of a real or imagined event before a live audience
in a specific place, often a stage.
e. Literary – is concentrating the writing, study or content of literature, especially
of the kind valued for quality of form.
f. Performance poetry – is poetry specifically composed for or during a
performance before an audience rather than on print mostly open to improvisation.
3. Digital Art – It is the art that is made with the assistance of electronic devices, or
intended to be displayed on a computer, which is the most important element in digital
art.
4. Applied arts – are the application of design and decoration to everyday objects to
make them aesthetically pleasing.
a. Fashion design – it is the art of applying design, aesthetics, and natural beauty
to clothing and its accessories.
b. Furniture design – it is a specialized field where function and fashion collide.
c. Interior design – it is enhancing the interior of a building to achieve a healthier
and more aesthetically pleasing environment for the people using the space.
d. Graphic design – it is an artistic process of effective communication. Designers
combine words, images, and symbols to create a visual representation of ideas.
B. Subject and Content of Art

The Subject of Art
It is the matter to be described or to be portrayed by the artist. The subject of art
is varied, it could be make-believe, imaginary, and invented or could be real events.
Two Kinds of Arts as to Subject:

1. Representational or Objective Art
Are those arts that depict (represent) objects that are commonly
recognized by most people. They attempt to copy, even if in a subjective manner,

something that is real. They use “form” and are concerned with “what” is to be
depicted in the artwork.
Examples:
a. Still Life is a work of art depicting mostly inanimate subject matter,
typically commonplace objects, which may be either natural (food, flowers,
plants, rocks, or shells) or man-made (drinking glasses, books, vases,
jewelry, coins, pipes, and so on) in an artificial setting.
b. Portrait is a painting, photograph, figure, or any other art forms in
which the face and its expression is predominant. The purpose may be to
show the resemblance, personality, or disposition of the individual.
c. Landscapes, Seascapes, Moonscapes, Cityscapes
d. Mythology and Religion, Dreams and Fantasies
2. Nonrepresentational or Nonobjective Art
Art works without any reference to anything outside itself (without
representation). It is nonobjective because it has no recognizable objects. It uses
“content” and is concerned with “how” the artwork is depicted. The artist attempts
only to show his ideas and feelings not as objective as the realist or the
representational artist.
Sources of the Subject of Art

1. Nature – Next to animals and people and their activities, nature as
landscapes has been the common subject of the arts. It has been the most
common inspiration and subject.
2. History- a period of time in history produces typical art in its time.
Thereby, relic of statues and paintings are found in each civilization.
3. Greek and Roman Mythology- During the Renaissance period, poets,
painters, and sculptors drew largely from Greek and Roman sources for subjects.
4. Religion – It has played an enormous role in inspiring works of visual
arts, music, architecture, and literature through the ages.
5. Sacred Oriental texts – Sacred texts of Hinduism, Buddhism, Taoism,
Confucianism, Zoroastrianism, Jainism, and Islam.
The Content of Art

The content of art is the meaning, message, and /or feeling imparted by a
work of art. This is not the same thing as the subject matter the work depicts.
Content is inextricably linked with form, which refers to the pictorial aspects of art.
It is the mass of ideas associated with each artwork and communicated through
the following:
1. The Art’s imagery
2. The symbolic meaning
3. Its surroundings where it is used or displayed.
4. The customs, beliefs, and values of the culture that uses it
5. Writings that help explain the work
3 Levels of Meaning/Content of an Art:

a) Factual Meaning- the literal statement or narrative content in the
work that can be directly apprehended because the objects presented are easily
recognized.
b) Conventional Meaning – refers to the special meaning that the

certain object or color has for a particular culture or group of people when it is
shown in an artwork.
c) Subjective Meaning- which refers to the individual meaning
deliberately and instinctively expressed by the artist using a personal symbolism
that stems from his own alliance with certain objects, actions, or colors with past
experiences. It becomes fully understandable if the artist gives details of what he
really mean; otherwise, it would be interpreted differently by the viewers, or it
would communicate multiple meanings to its varied audience.
C. Artist and Artisan

Artist is generally defined as an art practitioner, such as a painter, sculptor,
choreographer, dancer, writer, poet, musicians, and the like, who produces or creates
indirectly functional arts with aesthetic value using imagination. They use the materials
of an art to solve visual problems.
Artisan is a craftman, such as carpenter, carver, plumber, blacksmith, weaver,
embroiderer, and the like, who produces directly functional and/or decorative arts.
Artisans help us in meeting our basic needs, such as food, clothing, dwelling, furniture,
and kitchen utensils. They serve and supply us directly functional arts.
Key Components of the Art Market

The art market is an economic ecosystem that relies not only on supply and
demand but also on the fabrication of a work’s predicted future monetary and /or cultural
values.
Important Players in the Art Market
Curator a manager or overseer, and usually a curator or keeper of a cultural
heritage institution.
Art Buyer is a professional who is knowledgeable in art, who may scout
talents for an advertising agency seeking to employ an art director, or who may
look for an art for a collector or a company.
Art Dealer is a person or a company that buys and sells works of art. They
determine the artwork’s value, dealers inspect the objects or paintings closely and
compare the fine details with similar pieces.
Private Collection this is a personal owned collection of works, usually a
collection of art. In a museum or art -gallery environment, the term signifies that a
certain work is not owned by the institution, but is on loan from an individual or
organization.
The Creative Process (Robert Fritz)
1. Conceive the result you want to create. Creation starts at the end. We need to
have an idea of what we want to create., of what we want to have and manifest.
2. Know what currently exists. Creation should be novel, new and relevant to he
time hence, awareness of what is existing is important to be basis of your new creation.
3. Take actions. Having a new idea is not sufficient if not being realized or
materialized.
4. Develop your Creativity. Every creation emanates fresh thoughts and enhanced
one’s creativity.
5. Learn the rhythms of the creative process. imbibing the creative process below
results creation of new things.

3 Stages in the Creative Process
1. Germination (Idea)
Is the stage which conception of a project happened. A project in the mind
has not yet come into face. Hence choosing for finality of it becomes usually difficult. It
may be painful process but you need to choose and to concretize the project, to come
up with its face, thus you need to leave some other things out.
2. Assimilation In this stage a project which seems to be external is internalized
and assimilated and comes into your own being, becomes one with you. In this way your
creation grows from inside and begins to manifest in everything you do, consciously or
unconsciously.
3. Completion is the time to finish your project, to give it the final shape before
you present it to the audience. Put a deadline to your projects and do not get entangled
in small and never-ending details.
3 Stages in Art Making

1. Pre-production or subject development- this ends when the planning is
concluded and the content starts being produced.
2. Production or medium manipulation- this is a method of joining diverse material
inputs (plans, know-how) to make something for consumption (the output).
3. Post Production (completion) or exhibition, once an artwork is finished, it will
be displayed, circulated, and performed for the audience and public to see or watch.
Medium and Technique

Medium It refers to the materials that are used by an artist to create a work of art.
Without the medium, an idea remains a concept.
Technique It refers to the artist’s ability and knowledge or technical know-how in
manipulating the medium. The ability to manipulate, is the driving force in the birthing of
a new form or idea.
D. Elements and Principles of Art
Visual Element
The Element of lines, lines give great role in every art work. It defines the real face
of an art work. Lines make objects stand out against a background, they
challenge our perception, and arouse emotions, and they may enhance or
lessen the aesthetic effects of our surroundings.
Different Lines :
Horizontal Lines
These are parallel to the horizon. When you lie down on a flat
surface, your body forms a horizontal line. In an art work horizontal lines
indicate calmness and rest.
Vertical Lines
They start from the bottom going up. Verticals show strength,
balance, and stability.
Diagonal Lines
These lines are between a vertical and a horizontal line. Diagonal
lines manifest either rising or falling and may have both positive and
negative implications. On the positive, diagonals indicate movement or
action as may be seen in the posture of a runner or a horse in full run. On

the adverse side, diagonals may indicate stress, frustration, or defeat as
may be seen from the posture of a problematic person whose forehead
inclined to the ground and most often supported by the arm which palm
clenches to support ground-directed forehead.
Zigzag line
These are completed from a mixture of diagonal lines. Zigzags
indicate chaos, conflict, and confusion.
Curve lines
Technically known as curvilinear. A curved line that goes around itself
forms a spiral oftentimes seen in seashells. When curve lines continuously
move in opposite directions, they form wavy lines that show graceful
movements.
Actual lines and Implied lines
Actual lines, the artist intentionally shows the lines to make the viewer an
interesting aspect of the composition.
Implied lines, this is used by the artist to make the viewer feel their
involvement in interpreting the composition of an art work.
The Element of Color

It is the most expressive element of art. It shares powerful connection with
emotion. Colors enhance the beauty in all things. It is a property of light, hence
we could not perceive color in the absence of light. Sir Isaac Newton realized that
colors of the rainbow come from white light. It is by passing a beam of light through
a triangular piece of glass called prism, white light breaks into the visible color
spectrum, which separate color into the various wavelengths.
Physical Properties of Color

Hue this pertains to the name for which the color is known. The hue is
determined by the wavelength of light physically given by the color. Ex. Red.
Orange, yellow, green, violet, indigo, and blue.
Value a characteristic of a color which refers to the lightness or darkness
of a color. The value of colors pertains to the absence of white or black. Hues can
exist in different degrees of values. When white is added to a hue, the result is
called a tint. The more quantity of white is added the lighter will be the value of
the hue. On the other hand, when black is mixed with a hue, the result is called a
shade. The greater the quantity of black added, the darker is the value of the hue.
Thus, light blue (tint) has lighter value compared with navy blue (shade) which
has a dark value.
Intensity or Saturation. this characteristic refers to how pure the color is.
Pure hues pertain to the absence of white, black, or gray. Colors high in saturation
(high intensity) tend to be bright, and colors low in saturation (low intensity) tend
to be dull. Intensity distinguishes between a brighter appearance of the hue from
a duller one of the same hue.
Additive and Subtractive Colors

In reality, two color systems exist depending on the source. Colors of light,
Like what was discovered by Sir Newton, and colors of pigments have different
Characteristics. They are either additive or subtractive.
Colors of light are additive in the sense that when you combine the colors
the result will be white. Colors of pigments (paints) are subtractive. Combining

these colors results in black, for each color in this mixture cancels out each
other’s brightness.
The Color Wheel

Sir Isaac Newton was the first to conceptualize the color wheel to discover
relationships between and among colors.
Types of Colors
Primary Colors. The color wheel is primarily based on pigments making the
mixture subtractive. They are called primary colors because these colors cannot
be produced by the mixture of any other colors.
Secondary Colors. These colors result from the combination of two primary
colors in equal amounts. Orange is an example of secondary color. Ex.
Red+yellow=orange
Intermediate Colors. These colors can result from a combination of a
primary and a secondary color. Red-orange is the example of Intermediate color.
Ex. [R+(R+Y)] =Red-orange
Tertiary colors are created by combining any two secondary colors or by
neutralizing one color by adding its complement or opposite color in the color
wheel.( Ocvirk , 2002 Art Fundamentals).
Neutral colors . Colors which do not show color quality. They are white,
black and gray. White can be describe as the presence of all colors because it
occurs when a surface reflects all of the color wavelengths equally. Black is
usually described as the absence of color. It was observed to result when the
surface absorbs all of the colors and reflects none of them. Grey is described as
an impure white. It is created by a partial reflection of all wavelengths of color.
Neutral colors are concerned with the quantity of light that is reflected whereas
colors are more of the quality of light that is reflected (Ockvirk, 2002).
Warm Colors and Cool Colors

Colors also have “temperature” that may be used as another way to
organize a composition. All of the colors can be grouped into “warm colors” and
“cool colors”. Colors associated with the sun and fire are considered warm. Ex.
Red, orange and yellow. On the other hand, any color containing blue, such as
green, violet, and blue-green, are associated with air, sky, earth, and water.
Colors and Emotion

It has been discovered that colors appeal to the emotion and
enhance the mood. The physiology of the brain reacts to the presence of colors
transmitted to it by the visual system.
The Element of Shape

Shape is the next interesting element of the visual arts. Shapes
result from the coming together of lines enclosing an area and separating it from
its surroundings (Fichner, 2013). In the process of human perception. German
Gestalt psychologists have discovered that the way the human brain processes
information is done by organizing objects/stimuli into groups based on similarity,
nearness, and figured-ground relationships. After this process, a perceptual
“totality” is formed giving the viewer the “wholes” that now are labelled as shapes.

Kinds of Shape
There are many kinds of shapes, for instance are regular and
precise and present an industrial feel to the viewer. These shapes may be
rectilinear or curvilinear. On the other hand, shapes that have a natural
appearance and represent objects from nature are said to be organic. Organic
shapes are said to have a natural appearance and are usually curvilinear and
irregular (Fichner, 2013). Shapes may also be biomorphic and amorphous.
Biomorphic shapes manifest some qualities of biological organisms whereas
amorphous shapes exist without any basis from either nature or geometry.
Shape and the Content of Composition

Artists use shapes to convey initially what they think, imagine, or
feel. The shapes that artists use are an expression of these ideas rather than an
objective representation of the outside world. What shapes are chosen and
presented is more of a reflection of the personality of the artist rather than what is
considered to be objective reality. Artists usually associate shapes with something
consciously or unconsciously significant in their psyche. The meanings
associated with the different shapes depend on their character, complexity, and
how they are used as part of the whole composition and the perceptive sensitivity
of the viewer.
The Element of Space

Space is a tricky element of the visual arts. It involves both the
physiological capability of the visual system and the physical manipulation of the
two-dimensional surface (picture plane) to give the viewer an illusion of depth or
distance.
Physiological Perception of Space
There are two processes are involved here, (a) stereoscopic vision
which gives the viewer a perception of depth because of the distance between the two
eyes. The distance allows the viewer to see two presentations of the object, one from
each eye. This is known as retinal disparity. Retinal disparity gives the viewer two images
of the object then physiologically merges the into one image, thus, giving the viewer a
perception of depth or distance. (b) Kinesthetic vision involves the movement of the eyes
when looking at or viewing the object. It was observed that more ocular movements occur
when the object is near, and less when the object is far. Thus, physiologically, these two
visual processes allow the viewer to perceive depth and distance.
The Illusion of Space
Artists have come with techniques that allow viewers to perceive
space on a picture plane when actually none exists (hence the illusion).
Overlapping. When objects are grouped, not all parts of some
objects will be seen. This gives the impression of near and distant objects allowing the
viewer to perceive space in the composition.
Relative Size and Linear Perspective. Objects that are big will be
perceived as near compared with objects that are far. Parallel lines that meet at the
horizon give the illusion of distance.
Atmospheric Perspective. This is also known as aerial perspective.
In its gradient texture, the picture plane is divided into three parts; the lower part is the
foreground, which is nearest to the viewer , the second is the middle ground and he
upper part of the picture plane is the background.
The Effect of Space

Artist’s fascination is based on discovering any other ways to
manipulate the picture plane and create the illusion of “endless” space. Viewers, stare in
awe at what was achieved by the artists. Artists allowed them to see space with the eye
when the mind deems its existence improbable.
The Element of Value (Light and Shadow)

The visual arts is known particularly because of the element of
light. Light makes viewing any artwork possible, and it is sad to say that without light
this cannot be done. On the part of the artist, he does not only make sure that his work
is viewed under appropriate lighting but also explores how he may use this
characteristic of light to add quality and depth to his composition.
When light is discussed, it always follows that its counterpart,
which is shadow, will have to be dealt with. This gradual change from light to dark and
vice versa is what is referred to as value. The focus of the discussion will particularly
be on a kind of value known as achromatic value. Achromatic value refers to changes
in the amount of reflected light from white to grey to black and from black to grey to
white. Value most significantly results in the illusion of form and depth in a composition.
Achromatic Value When light falls on an object, the light rays do
not shine equally on all parts of the object, and on the area where light is blocked by
the object, a cast shadow results. Cast shadows may have different degrees of values
ranging from grey to black.
The technique of using light and shadow in painting is known as
chiaroscuro. Leonardo da Vinci exploited the effects of chiaroscuro in his
masterpieces. He even introduced a technique called sfumato in which the gradual
blending of light and shadow gave the figures in his composition a more realistic form
and depth, which is quite evident in the Mona Lisa.
Another renowned artist of the 16th century named Caravaggio
went a step further with chiaroscuro and exaggerated the use of shadows in his
paintings known as the "dark manner.” This "dark manner” of painting was what
characterized paintings of the Baroque period. “Dark manner" or the exaggeration of
chiaroscuro is known as tenebrism. It was the artist Rembrandt who perfected
tenebrism in his paintings.
The Element of Texture

A review of all the elements that were discussed would indicate
that line, color, shape, space, and value all deal with the sense of sight. The next
element texture, taps into two sensory systems. The sense of touch, which gives rise
to tactile sensations, and the sense of sight. which gives the viewer visual sensations.
Texture is derived from Latin for "weaving" (Fichner, 2013). It usually refers to the feel
of the surface of woven fabrics. Presently, texture is an important element both for
two-dimensional and three-dimensional arts. As an element, texture can be defined as
how the surface of the material feels and looks like. It is important to note that texture
is not only felt but also seen. Seeing texture without touching, it is what is known as
Visual texture.
Looking and feeling surfaces can give descriptions, like smooth,
rough, soft, hard, cold, and warm. The characteristic of the surface largely depends on
the degree to which the surface is broken into its components. This will result in
sensations of the appearance and feel of the surface. For instance, when the surface is
rough, some light rays are blocked, resulting in light and dark patterns. Shiny surfaces,

on the other hand, cause light rays to bounce more evenly giving the viewer
a smoother appearance. These are two instances that show how light is affected by
characteristic of the surface, thus allowing the viewer to know texture not only by touch
but also by sight.
Types of Texture
There are four basic types of texture: actual, simulated, abstract,
and invented texture (Ocvirk, 2002).
Actual Texture. This type of texture refers to the real feel and look
of the surface of the object. This usually is a characteristic of three-dimensional
artworks. The real feel of the material used for sculpture, for instance, would
give the characteristic of how the surface looks and feels like. Some two-dimensional
artists however, can present texture in the paintings by putting a thick layer of pigment
on the surface. These are known as impasto paintings, which is a characteristic of Van
Gogh's work. Other artists began adding interesting textures to their paintings by
pasting real objects, like paper, strings, leaves, and any other objects. This is now what
is known as collage. This technique was first introduced by Picasso and Braque
in their abstract compositions.
Simulated Texture. This type of texture refers to a surface
character that looks real but is not (Ocvirk, 2002). Simulated texture is a skill of the
artist to exactly copy reality. This artwork, because of its attention to detail, can be
mistaken for real objects. Interior designers use this technique of simulated texture to
imitate the surface and appearance, for instance, of real marble. The purpose of
simulated texture is to "fool the eye." Imitation of reality is the challenge of simulated
texture.
Abstract Texture. In this type of texture. the artist would focus on
one aspect of the real texture and emphasize it, thus, modifying the texture of the
whole composition. The effect is more for decorative and aesthetic effect depending
on the particular needs of the artist. Here there is no attempt to fool the eye, but
modification of texture would enrich the whole composition.
Invented Texture. This texture is a product of the artist's
imagination. This presentation is usually seen in abstract artwork. Though solely from
the artist's mind, invented texture may still represent something that is real.
The Element of Time and Motion

Motion through time (Fichner, 2008). Over the centuries, artists
have collaborated to bring to the viewer the concept of movement and time in their
artworks. Motions can show direct actions in which movement is perceived immediately
or show an intended path for the viewer to follow to achieve the effect of motion across
the visual field. So far, they have experimented with their medium and
have come up with two techniques in achieving motion and time in both two-
dimensional and three-dimensional art. These techniques are actual motion and
implied motion.
Actual Movement. In this type of artwork, the artist incorporates
actual movement in art known as kinetic art. These are particularly observed in modern
sculptures. The actual movements may be achieved in several ways: This may be
through the aid of nature, such as air and water currents or may be mechanically
driven either by the characteristic of the medium or some energy source.
Artists, like Alexander Calder (The Star in 1960), employed changes in air currents to

make his sculpture move. He called his artwork mobiles. In nature- driven artworks, like
Calder's, the artwork presents itself differently each time.
Implied Movement. To show implied movement in art, a variety of

lines may be used together with some degree of repetition, changes in the position,
scale, or size of the objects, and varying proportions that can create the perception of
movement or passing time in a two-dimensional piece of static art, an example of this
is Marcel Duchamp's **Nude Descending a Staircase." The effect and imagery created
by this work implies motion and passing of time giving the viewer the illusion of
movement. This technique of creating optical sensations through repetition and
manipulation of color, shape, and line is what is known as Op Art (Fichner,
2013).
ARTWORK ANALYSIS
The analytic study of how the various elements and material
features of the art work produce meaning should lead to a more stable and consensual
field of meaning leading to a better understanding of an artwork
by an ordinary audience or viewer. The analysis would turn away from erratic,
whimsical, purely subjective, and impressionistic readings of the artwork.
Having taken note of the information provided by the basic
documentation of the artwork, one can see three planes of analysis or in reading the
image: the semiotic, the iconic, the contextual.
a. Semiotic(Name of the artist, title of the work, year the work was
created, dimension or size, medium or technique, location of the work, whose
collection or gallery).This is like a credit line, which lists important facts about a work of
art.
b. Iconic(Subject-type, kind, source, and how the artist describes the
subject).
c. Contextual (meaning of the work, symbols, ideas, concepts). The work
of art may contain references and allusions, direct or indirect, to historical figures and
events, as well as to religious, literary, and philosophical ideas and values, which are
part of the meaning of the work.
Semiotic
Title: A Sunday Afternoon on the Island of La Grande Jatte
Artist: Georges-Pierre SEURAT
Dimensions:2.08 m x 3.08 m(81.7 in x 121.25 in)
Location: Art Institute of Chicago Building
Genre: History painting
Medium: Oil on canvas
Periods: Pointillism,Neo-impressionism
Year: 1884-1886
Subject:People relaxing at la Grande Jatte,Paris
Iconic
Seurat spent two years working on his most famous work,
composed of tiny dots of contrasting or complementary colors intended to fuse in the
viewer's eye a vibrant effect. The artist depicted people, city dwellers, gathered and
relaxing in a suburban park on an island in the Seine River called La Grande Jatte. On
an enormous canvas, the artist depicted all kinds of people stroll, lounge, sail, and fish

in the park. The picture was unusual in showing people belonging to different social
classes frequenting the same park on an island in the Seine.
The artwork itself highlighted the controlled surface of the painting,
the use of aerial perspective, which gives an impression of space, and Seurat's deeply
shadowed foreground that leads into a light, bright distance.
Contextual
Seurat uses the technique of optical color mixture, also known as
pointillism or divisionism, to really accent and express his ideas and originality. When
dots of pure color are placed close together, they blend and create the illusion of some
other hues. Using newly discovered optical and color theories, Seurat rendered his
subject by placing tiny, precise brushstrokes of different colors close to one another so
that they blend at a distance. Over the past several decades, many scholars have
attempted to explain the meaning of this great composition. For some it shows the
growing middle class at leisure. Others see it as a representation of social tensions
between modern city dwellers of different social classes, who gather in the same public
space but do not communicate or interact.
THE RULE OF THIRDS

One of the most useful composition techniques in photography is the rule
of thirds. This is commonly known as the basic knowledge in composition
that most photographers use when they are placing items within the frame for their
masterpiece. It is considered to be an important concept to learn as it can be used in
all types of photography to produce images, which are more engaging and better
balanced. Palawan, Philippines (Ctto Enolueno T. Barona)
What is the Rule of Thirds?

In its simplest form, the rule of thirds suggests that you should imagine
a tic-tac-toe or a pick-pack-boom board on the frame of the picture. It involves
mentally dividing up your image using two horizontal lines and two vertical lines. You
then position the important elements in your scene at the points where they meet along
those lines.
How to Use the Rule of Thirds

When you are framing a photo, you just have to imagine that the scene is
divided into three. By using the rule of thirds, the subject is placed on the left
intersection of the frame, the picture contains a visual mass, as what the viewer's eyes
is drawn to. So, upon seeing a portrait applying the rule of third your eye is immediately
drawn at the back of a subject (people), and the right side of the portrait would serve as
the focus of the subject. What is given importance here is not only the subject but of
what the interest of the subject in the frame.
PRINCIPLES OF ART
Principles of Design refer to the visual strategies used by artists, in
conjunction with the visual elements of arts for expressive purposes.
1. Balance
It is one of the principles of design; it is classified into three: symmetrical,
asymmetrical, and radial.
a. Symmetrical: also known as formal balance, as two equal parts of the

pictorial plane of an artwork placed like mirror images of each other. The similarity is so
precise that each half is seen one and the same.
b. Asymmetrical: also known as informal balance, where elements on
either side of a composition do not reflect one another or when several smaller
items on one side are balanced by a large item on the other side, or smaller items are
placed further away from the center of the screen than larger items.
c. Radial Symmetry: balance where all elements radiate out from a center
point in a circular fashion to all four quadrants of the shape's constraining plane.
2. Harmony
In the principles of design, this can be described as sameness, the
belonging of one thing with another.
3. Proportion
This is the size relationship of forms and shapes. Good proportion causes
a sense of unity and harmony.
4. Dominance/Emphasis
This happens when the artist creates an area of the composition that
is visually dominant and commands the viewer's attention. This is often
achieved by contrast.
5. Variety
This is a principle of design that refers to a way of combining visual
elements to achieve intricate and complex relationships. It is a technique used by
artists who wish to increase the visual interest of their work.
6. Movement
This is the result of using the elements of art such that they move
the viewer's eye around and within the image. A sense of movement can be
created by diagonal or curvy lines, either of space, by repetition, by energetic
real or implied, by edges, by the illusion mark-making.
7. Rhythm
In the principles of design, this is a continuance, a flow, or a feeling of
movement achieved by the repetition of regulated visual information.
ELEMENTS OF ART:
AUDITORY
Music is considered to be the least tangible of the arts. It is defined as
an arrangement of sounds to create a continuous and unified composition. Currently,
there are two dominant musical traditions: popular music and classical music.
(a) Popular music often involves the use of electric instruments to enhance
instrumental and vocal sounds. either It also involves lyrics, which is thee illusion
probable reason we frequently associate energetic popular music with music with a
person or a group of persons singing. Popular songs also tend to involve repetition. In
addition to the fact that these are usually short, the use of repetition makes these
songs memorable, it usually has a strong beat, which is the reason we tend to move at
the same time with it. Aside from this, when we say a title of a popular song, to whom
do we associate it with? Usually, we associate it with the performer or performers who
popularized it. (b) Classical music is of more frequently essentially instrumental there
are some classical of although compositions that involve the human voice, such as
opera, Nevertheless, the expression of meaning involves the use of pure sound. It also
uses instruments that generate sounds in a natural way. In contrast to popular music,

classical music usually has a duration of 30-40 minutes, and there is more variation
within a classical composition. Unlike in popular music, which is usually performed by
memory, classical music is originally produced from a written least and t normally has
one acceptable way of interpreting it. The beat is not as generally obvious in classical
music. Aside from this, we associate a certain composition with its composer, not with
the performer. Classical music usually has the reputation of something that belongs to
the upper class, and that most people, especially the youth, will find classical music
difficult to understand. According to Johnson (2002), the preference of popular music to
classical music may be related with the person's obsession with anything material and
anything that can easily be seen. This is obvious in our contemporary culture,
considering that we live in a highly visual civilization. We even associate music with
music videos and how the music is marketed through the performers. Aside from this,
popular music in our contemporary culture tends to avoid polyphony and discursive
musical genres, like the sonata and symphony. Because of the urge for immediacy,
most people, especially those who are not really used to listening to classical music,
reject classical music. In addition to this, classical music is
difficult to understand and appreciate because listening to it also involves engaging our
minds through time. Classical music transcends what is physical and material. It also
dwells in the intellectual and spiritual, this is what makes music a unique art form. It
does not simply unfold itself in an instant. A person has to take time to let music
reveal itself in him or her. One good way of appreciating classical music is to go back
to the elements and describe the music based on knowledge of the elements. However
according to Johnson (2002), a person has to simply understand and to place oneself
in the shoes of the performer or the composer. Tackling a musical text objectively,
according to him, has nothing to do with looking for "hidden messages" in the music,
performing of intricate analysis, or even explaining it using nonmusical terms. At this
point, we shall focus on classical music and its historical genres.
We shall also use the term "classical music in this chapter to refer to instrumental
music.
Elements of Music.
But before differentiating the various historical genres of classical music
let us review first the following elements of music. Reviewing these elements will help
us greatly in understanding differences among the historical genres.
Rhythm
This has something to do with the patterns in time. It has three
qualities: tempo, meter, and rhythmic pattern. Tempo describes how fast or slow the
music is. In a sheet music, this is usually symbolized by the metronome mark at
the start of the score. Let's take a look at figure 4.1. Is the music fast or slow? On the
other hand, meter refers to the unit of time that is made up of a group of accented and
unaccented beats or pulses. Let us take a look again at figure 4.1. The time signature
of the music is 3/4. Music with this time signature is in triple meter.
Melody
This refers to a succession of consecutive notes or tones changing
in pitch and duration. It is also considered to carry the overall theme of music. Melody
is inseparable with rhythm.
Harmony
This may refer to a combination of different tones or pitches played
or sung together. Notes played or sung together at the same time are called a chord.
Harmony may also involve playing chords successively.

Texture
This element refers to the relationship of melodic and harmonic
lines in music. Music is considered to have a thicker texture if it has more melodic
lines. Music can be monophonic, homophonic, or polyphonic. Monophonic texture has
one melodic line, and it involves singing or playing in unison. Homophonic texture, on
the other hand, involves singing or playing the melody and accompanying chords. It
may also be playing the chords at exactly the same time. Polyphonic texture is
considered to be the most complex because it has more melodic lines that seem
independent from one another.
Dynamics
This refers to the degree of softness and loudness of music. This
may also include the way of changing from soft to loud or vice versa.
Timbre
Also known as tone color, this refers to the quality of sound
generated by an instrument or by a voice. Each musical instrument produces a
different quality of sound depending not only on its materials, size, and shape, but
more importantly, on the amplitude of overtones produced by that instrument, and
which part of the instrument is vibrating to produce sound.
Classification of Musical Instruments

The musical instruments in the Western orchestra can be categorized
into four: string, woodwind, brass, and percussion. However, as mentioned earlier,
using this classification may not be applicable to the non-Western musical instruments.
Thus, we shall use a different system in classifying musical instruments to acco-
mmodate non-Western musical instruments. The following are the types of musical
instruments based on the Hornbostel- Sachs classification:
ldiophones. Sound is produced when the body of the instrument itself

vibrates.
Membranophones. Sound is produced by membranes that are tightly
stretched over a part of the instrument.
Chordophones. These instruments involve the use of stretched strings to

produce sound.
Aerophones. Sound is produced when air vibrates inside a column, or

when the reed vibrates by a flow of air.
Electrophones. These instruments generate sound through materials or

sources that produce electrical signals that are transmitted to a loudspeaker to release
sound.
Form
This refers to the arrangement of musical events or themes throughout
the composition. Using the interplay of statement of the theme, repetition, contrast, and
variation, patterns of musical form can be formed, which are the following:
Strophic (A-A-A-A). Considered popular the most musical form, the theme
is repeated Over and over. This is Common in hymns and even popular songs,

considering that a stanza (or strophe) and the chorus following it belong to one theme.
Binary (A-B). A new melody is played after one melody.
Ternary (A-B-A). In this form, a new melody is played after one melody,
but the first melody is repeated after the second melody.
Rondo (A-B-A-C-A, A-B-A-C-A- B-A, or A-B-A-C-A-D-A). In this

form, the first theme alternates with two or more different themes.
Theme and variation (A-Al-A2- A3-A4). The melody is initially presented

or played. Then it changes appearance after the theme is entirely played.
Sonata-allegro. This typically fast musical form is almost similar to ternary

form because it is also divided into three parts. But what makes this different from
ternary form is how these three parts unfold. The first part called exposition presents
the overall theme of the music. Development, which is the second part, involves
building up or expounding part or parts of the original theme. The last part, which is
called recapitulation, reviews the themes in the initial structure. These parts of the
sonata-allegro form is likened to a story. The exposition is associated with the initial
portion of the story wherein the characters are introduced. On the other hand, the
development is equated to the tension Occurring among the characters while the
recapitulation ends the story with resolution.
Historical Genres of Classical Music

Before we proceed to the historical genres of classical music, let us first
review the historical development of music before the Baroque Period (1600- 1750).
We all know that our ancestors began making music as a form of communication and
socializing with one another as early as prehistoric times.
During the Middle Ages (476-1450), music was generally sung or played
in three places: inside the monastery inside the cathedral, and at the court. The
plainsong or Gregorian chant, which was monophonic and sung in Latin, was the
principal musical genre in the monastery. This collection of religious songs conveyed
the Roman Catholic Church's theological message. The plainsong aimed to help the
people to commune with God. However, the principal musical genre in the cathedral is
the organum, in which one or multiple voices are added to the existing chant. This was
an early example of polyphony. Meanwhile, music at the court was played by
troubadours and trouvères. Courtly music was intended for singing and dancing. One
of the principal musical genres during this time was the carol, which was a song written
in the vernacular marking a special dáy, specifically Easter, Christmas, or a military
victory.
Music during the Renaissance period (1450-1600) was marked by a
change in the relationship between the music and the text. In fact, the role of music
was to emphasize the meaning of the text at its every turn. For example, if the verse
was about the coldness of winter, the accompaniment should be written in a minor key
and full of heavily sounding chords. Principal musical genres during this time were
polyphonic mass, madrigal, motets, and instrumental dance music. Prominent
composers include Josquin Despres and Giovanni Pierluigi de Palestrina (1525-1594).

1. Baroque Music Early and Middle Baroque music (1600-1710) had
melodic patterns that were specifically written for certain musical instruments. These
melodies also had a wider range and less stepwise movement. Another common
characteristic of music during these times was the presence of strong basso continuo
supporting the melody. We may also consider that the presence of this strong bass
aided in articulating a strong beat, complementing with repetitive rhythmic patterns.
The string family typically played the melody of the music although the orchestra began
playin8 sudden changes in dynamics, which added drama to the music. Homophonic
texture was common among music during these times.
On the other hand, music during the Late Baroque period (1690-1750)
had melodic patterns that showed a more progressive development Compared with
music during the earlier times of Baroque period. These also developed Wider and
longer. The instrumental style shaped vocal melodies. One could easily hear the
melodic pattern. The presence of strong basso continuo still continued. What about the
rhythm of music during this time? Rhythms became more energized and exciting. The
use of the strong "walking" bass helped in keeping the regularity of rhythm. In contrast
to the music in Early and Middle Baroque, the violin, harpsichord, and organ typically
played the melody of the music, and one tone color was used to set apart movements
or sections of movements. The mood of the music was consistent throughout the
composition. Homophonic texture was still common although polyphonic texture started
to resurtace. Principal musical genres during the Baroque period included the opera,
chamber cantata, Sonata, concerto grosso, solo concerto, and dance suite. Sonatas,
orchestral suites, and dance suites typically took the binary form, while concertos were
in ritornello form. The commonly known composers during the Baroque period were
Johann Pachelbel, Antonio Vivaldi, Johann Sebastian Bach, and George Friedrich
Handel. Johann Pachelbel (1653-1706) was most popularly known for his work Canon
in D Major (written around 1680 1706) while Antonio Vivaldi (1678-1741) is famous for
his works collectively known as The Four Seasons (1721). Johann Sebastian Bach
(1685-1750) was considered to be frugal when working on his material because he
looked back over his previous works when he was about to work on another context.
He was known for his works, The Well-Tempered Clavier Brandenburg Concertos
(1722-1742), (1721), and Tocata and Fugue in D Minor (c. 1704).
2. Classical Period Music It is important to emphasize the difference

between classical music from Classical Period Music. Classical Period Music refers to
musical compositions written from 1750-1820. Melodies during this period had short
but balanced phrases, which were inspired by vocal style. The melodies were
considered to be tuneful and had a light, airy feeling. The melodies were shorter and
symmetrical. Harmonic rhythm during this time was more dramatic compared with that
during the Baroque period. However, the chordal harmonies were simple but an
"Alberti" bass (a kind of arpeggiated bass) made these harmonies sound more active.
In contrast to rhythmic patterns of Baroque music, rhythm of music during the Classical
Period had sudden short interruptions after short intervals of movement. Rhythm of
Classical Period music had more variety within a single movement. In fact, the mood of
the music within a single movement could change. The string instruments still typically
play the melody, but woodwind instruments had Occasional solos. During this time, the
orchestra became larger, accommodating the woodwind instruments. It was also
during this time when the piano became the principal keyboard instrument instead of
the harpsichord. Music during this period homophonic, mostly although was polyphonic
texture was still used but only to signity contrast. The bass was thin and may not be

easily heard. The principal musical genres during this period included the opera,
symphony, sonata, string quartet, and solo concerto. These musical genres typically
took the following standard musical forms: theme and variation, rondo, sonata-allegro,
ternary, and double exposition.
The commonly known composers the during Classical Period were
Wolfgang Amadeus Mozart (1756-1791), Joseph Haydn (1732-1809), Ludwig van
Beethoven (1770-1827), and Franz Schubert (1797-1828). Mozart, who was
considered one of the most popular classical composers of all time, created more than
600 compositions, including Piano Sonata No. 11 (1783), and Eine Kleine Nachtmusik
(1787). Haydn, who was regarded as the "Father of the String Quartet," was known for
his work Symphony No. 94 (Surprise Symphony). Beethoven, on the other hand, was
famous for a number of his works, such as Piano Sonata No. 14 in C# minor "Quasi
una fantasia (popularly known as Moonlight Sonata) (1801), and Bagatelle 2J No. 25
in A minor (popularly known as Fiür Elise) (1810). He also created many famous works
during the Romantic era. Schubert started his career during the late Classical period,
although his most famous works were published during the Romantic period.
3. Romantic Music We already know by now that Romanticism is
associated with love, idealism, nature, and expressiveness. Composers during the
Romantic petiod (1820-1900) employed techniques that showed a lot of expression.
Music during this period had more flexible melodies that were also irregular in shape
compared with music during the Classical Period. The melodic lines were long but
singable, and had strong climaxes and chromatic inflections. Harmonic patterns during
this period were more colorful and richer because of using chromaticism, a technique
involving the use of notes that were different from the scale upon which the musical
composition was based. For example, more dissonant chords were used to express
anxiety and longing. Abrupt shifts to remote chords were also used. Relaxed and free
rhythms were also used in the music. In fact, the meter was not obvious, and the
tempo might fluctuate significantly. During this time, the brass wind instruments were
already added to the orchestra. However, the piano became bigger and more powerful.
Because of this, there was more room to try new playing techniques to create
additional effects to the music. Aside homophonic from this, the typical texture of the
music became richer and thicker.
The principal during this period included the opera, symphony, program
symphony, concert overture, symphonic poem, dramatic overture, art song, solo
concerto, and ballet music. Musical forms created before the Romantic period were still
used during this time although these forms were extended in length. The following
were the leading composers during the Romantic Period and their famous works:
Ludwig van Beethoven – Piano Sonata No. 32 in C minor, Op. 111

(between 1821-1822), Symphony No. 9 in D minor (Choral) (between 1822 and 1824)
Franz Schubert - Erlkönig (1815), Trout Quintet (1819, published in
1827), Symphony No. 9 inC Major (1828)
Hector Berlioz (1803-1869) Symphonie Fantastique (1830)
Robert Schumann (1810-1856) - Carnaval, Op. 9 (1834-1835),
Kinderszenen (1838)
Clara Schumann (1819-1896) Lienst du um Schonheit from (1841), Drei
Liebesfriühling Romanzen (1853)
Franz liszt (1811-1886) Hungarian Rhapsody No. 6 (1847),
Transcendental Etude No. 10 (1852), Mephisto Waltz No. 1 (1859-62)
Johannes Brahms (1833-1897) Wiegenlied: Guten Abend, gute Nacht

(1868), Hungarian Dances (1869)
Pyotr Ilyich Tchaikovsky (1840- 1893)- 1812 Overture (1880), Nutcracker
(1892), Symphony No. 6 in B Minor (Pathétique) (1893)
Frederic Chopin (1810-1849) Nocturne in E-flat major Op. 9 No. 2
(between 1830-1832), Minute Waltz (1847)
Richard Strauss (1864-1949) Also Sprach Zarathustra, Op. 30 (1896),
Alpine Symphony (1915)
Giuseppe Verdi (1813-1901), Giacomo Puccini (1858- 1924), Richard
Wagner (1813-1883), and Georges Bizet (1838-1875) were leading opera composers.
4. Impressionism (1880-1920) was a transition from Romanticism to

Modernism in music. It involves the use of dabs of unmixed colors and applying it using
quick strokes to portray the effect of natural light on the subject
matter. How is this shown in music? The typical melody of Impressionist music
usually changes from short bits of sound to long free-flowing melodic lines. Because of
this, the tunes are rarely, if not, singable. The typical harmonic pattern of Impressionist
music was static and repetitive. Chords progressed in parallel motion, and
nontraditional scale patterns were used, such as the whole- tone and pentatonic
scales. Rhythm was generally flexible and free, using irregular accents. At this time, a
typical Composition was written in such a way that the tone color was independent of
the melody. Emphasis was given more to the woodwind and brass instruments as main
carriers of melody. There was a variety of texture in Impressionist musical compo-
sitions. The sustaining pedal of the piano was frequently used in order to produce a
wash of sound. Another noticeable characteristic was the use of quick running
glissandos, either ascending or descending. Main musical genres during this period
included the opera, symphonic poem, orchestral song, string quartet, character piece
for piano, and ballet Mood music. music was preferred during this time over narrative
music, as if musicians wanted to enjoy the mood of the moment. Composers also
started to veer away from traditional musical forms with precise repetitions. Leading
Composers during this time were Claude Debussy (1862-1918), famous for his works
Deux Arabesques (between 1888 and 1891), and Clair de Lune (1905), and Maurice
Ravel (1875- 1937), who was known for his works Pavane por une infante défunte
(Pavane for a Dead Princess) (1899), and Boléro (1928).
5. Modern Music We should know by now that modern music is

technically music created from 1900 to the present day, not just music that we know
today. Symphonies, solo concertos, choral music, ballet music, opera, and string
quartets are typical genres during the Modern period. Just like in Modern art wherein
artists deviate from traditional art in favor of experimentation, Modern music reflects
unique characteristics compared to music before the Modern period. Typical melodic
lines of modern music are wide-ranging but dissonant and chromatic. Polytonality,
which means using two equal but conflicting tonal centers at the same time, and
atonality, meaning an absence of a clear tonal center, are frequently used. Rhythm
is usually vigorous and asymmetrical. Some composers even write music using
simultaneous meters that are in conflict with one another to make the music more
complex. Musical texture is also diverse, and there is no specific word that can
describe texture of Modern music. The principal composers during this period were
Igor Stravinsky (1882 1971), who was known for his works The Rite of Spring (1911-
13) and Three Pieces for Clarinet (1919), Arnold Schoenberg (1874-1951), who
became well known for his 12-tone compositions and atonal works, such as String

Quartet No. 1 (1904) and Five Orchestral Pieces, Op. 16 (1909), and Aaron Copland
(1900-1990), who was famous for his works Fanfare for the Common Man (1942) and
Appalachian Spring (1944). These composers, as well as the rest of Modern music
composers, sought new sounds from a wide variety of instruments, including traditional
and electronic instruments and software, and even environmental noise. They also
used a lot of musical forms, such as rondo, sonata-allegro, and theme and variations,
and influences from jazz and pop music.
6. Postmodern Music (1945-present) overlaps with modernism. Ultimately
postmodernism is considered as art that has gone beyond tradition and modernism. It
embraces even the ordinary. In postmodernism, everyone is considered equal. The
walls separating high art from low art are broken down. Postmodernism rejects
tradition that it even rejects the concept of narrative music in favor of chance music."
Postmodern music does not have any common genre. In fact,
each composition belongs to a unique genre. We cannot simply generalize postmodern
compositions in terms of style. Experimentation with electronic instruments and
software still continues. Composers have begun writing music involving the use of new
notational styles and non-Western classical instruments. Some of these composers are
John Cage (1912-1992), famous for 433 (Four Minutes and Thirty-three Seconds)
(1952) and Imaginary Landscape No. 4 (1951), Philip Glass (1937- ), who was known
for his compositions like Glassworks (1982), and John Adams (1947- ), who was
known for his minimalist works, like Short Ride in a Fast Machine (1986). Truly, similar
to the visual arts, the heart of music is to bring out a pattern of feeling and thought.
However, 1in contrast to the visual arts, music does it through the way its elements
are arranged and patterned. Music spiritualizes the material elements of the world.
Now, the challenge is how we are 8o1ng to approach it, just like the rest the art forms.
We need to be more open, patient, and receptive in order for us to approach classical
music in a different way (Johnson, 2002).

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ART APPRECIATION

College of Engineering and Technology

GE 6 Art Appreciation : College of Engineering and Technology Page 1 of 29

INSTITUTIONAL GRADUATE OUTCOMES

GE 6 Art Appreciation : College of Engineering and Technology Page 2 of 29

Ramil T. Lanuza is an Assistant Professor of Northwest Samar State University

GE 6 Art Appreciation : College of Engineering and Technology Page 3 of 29

Module 1: The Meaning and Concepts that Constitute an Arts

The Importance, Meaning and Assumption of Art ……………………………………………….

Subject and Content of Art ........................................................................................................

Artists and Artisans....................................................................................................................

Elements and Principles of Art ..................................................................................................

Activities and Exercises…………………………………………………………………………..

GE 6 Art Appreciation : College of Engineering and Technology Page 4 of 29

GE 6 Art Appreciation : College of Engineering and Technology Page 5 of 29

This course includes the mandatory topic on taxation.

At the end of the course, the students must be able to:

Timeline/Duration : 18 weeks or 54 hours in a semester

GE 6 Art Appreciation : College of Engineering and Technology Page 6 of 29

Module 1: The Meaning and

In general, the requirements of the course are as follows:

GE 6 Art Appreciation : College of Engineering and Technology Page 7 of 29

Whichever is Practicable and Applicable in the “New Normal”

Major Exams/quizzes/exercises 40%

GE 6 Art Appreciation : College of Engineering and Technology Page 8 of 29

Module Title: The Meaning and Concepts that Constitute an Art

Topics and Discussions:

A. Importance, Meaning, and Assumptions of Arts

Common Essentials of Art:

GE 6 Art Appreciation : College of Engineering and Technology Page 9 of 29

Basic Philosophical Perspectives of Art

GE 6 Art Appreciation : College of Engineering and Technology Page 10 of 29

1. Visual Arts (2D, 3D)

2. Performing/ Combined Arts

B. Subject and Content of Art

Two Kinds of Arts as to Subject:

GE 6 Art Appreciation : College of Engineering and Technology Page 11 of 29

Sources of the Subject of Art

The Content of Art

3 Levels of Meaning/Content of an Art:

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C. Artist and Artisan

Key Components of the Art Market

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3 Stages in Art Making

Medium and Technique

D. Elements and Principles of Art

GE 6 Art Appreciation : College of Engineering and Technology Page 14 of 29

The Element of Color

Physical Properties of Color

Additive and Subtractive Colors

GE 6 Art Appreciation : College of Engineering and Technology Page 15 of 29

The Color Wheel

Warm Colors and Cool Colors

Colors and Emotion

The Element of Shape

GE 6 Art Appreciation : College of Engineering and Technology Page 16 of 29

Shape and the Content of Composition

The Element of Space

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The Element of Value (Light and Shadow)

The Element of Texture

GE 6 Art Appreciation : College of Engineering and Technology Page 18 of 29

The Element of Time and Motion