ART APPRECIATION

Course Title: Art Appreciation

No. of Units: 3 units

Course Description:
Art Appreciation is a three-unit course that develops student’s ability to
appreciate, analyze and critique works of art. Through interdisciplinary and
multimodal 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 student’s competency in researching and curating
art as well as conceptualizing, mounting, and evaluating art productions. The
course aims to develop student’s genuine appreciation for Philippine arts by
proving them opportunities to explore the diversity and richness and their
rootedness in Filipino Culture

Learning Outcomes:
At the end of the course the students should be able to:
Knowledge
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 and design
3. Explain and evaluate different theories of Art
4. Situate Philippine arts in global context

Skills
1. Analyze and appraise works of art based on aesthetic value, historical context,
tradition, and social relevance
2. Mount an art exhibit (concept development, production and post production,
marketing, documentation, critiquing
3. Create their own works of art and curate their own production or exhibit
4. Utilize art for self-expression and promoting advocacies
Values
1. Deepen their sensitivity to self, community and society
2. Discover and deepen their identity through art with respect to their nationality,
culture and religion
3. Develop an appreciation of the local arts

Number of hours: 3 hours every week for 18 weeks or 54 hours in a semester

Course Outline and Timeframe

Week Topics
1 Course orientation: Grading system, Requirements, Relevance of the Course
Assumptions and Nature of Arts: Creativity, Imagination
2 Functions of Art and Philosophy
3 Subject and Content Art
4 Methods of Presenting the art Subject
5 Arts and Artisans: Production Process, Medium, Technique, Curation
6 GAMABA AWARDEE and NATIONAL ARTIST OF THE PHILIPPINES
7 Elements and Principles of Arts
8 Reading the Image
9-10 Art History(Asian, Western, Philippines)
11 Medieval period
12 MIDTERM EXAMINATION
13 Baroque Period
14 Classical Period
15 Soul making (Improvisation and Appropriation)
16 Indigenous art
17 FINAL PERFORMANCE
18 FINAL EXAMAMINATION
*Based on the Syllabus of Instruction prepared by Commission on Higher
Education

Disclaimer: This module gathered information from various internet sources and
credited all authors for their works. This make sure that this module keeps the
“Fair Use” of the said information. This intend not to violate any copyrights or be
subjected to copyright infringement.
LESSON 1 ASSUMPTIONS AND NATURE OF ARTS

I. Topic: Assumptions and Nature of Arts

II. Objectives:
At the end of this lesson, the student should be able to:
a) Define and identify assumptions and nature of arts
b) Give the significance of assumptions and nature of arts in real life situation.
c) Cite Filipino artwork

III. Content:

What is Art?

 Art is something that is perennially around us.

 Some people may deny having to do with arts but it is indisputable that life
presents us with many forms of and opportunities for communion with the
arts.
 The word ART comes from the ancient Latin, ars which means a “craft or
specialized form of skill, like carpentry or smithying or surgery” (Collingwood,
1938).
 Ars in Medieval Latin came to mean something different. It meant “any
special form of book- learning, such as grammar or logic, magic or astrology”
(Collingwood, 1983).
 The fine arts would come to mean “not delicate or highly skilled arts, but
“beautiful arts” (Collingwood, 1983).
 “The humanities constitute one of the oldest and most important means of
expression developed by man” (Dudley et al., 1960). Human history has
witnessed how man evolved not just physically but also culturally, from cave
painters to men of exquisite paintbrush users of the present.
 From the Aryan root ar, this means to join or put together; from the Greek
words artezein, which means to prepare, and arkiskein, meaning to put
together.
 In addition, Art is derived from Latin word ars, meaning ability or skill. (J.V.
Estolas)
  According to Plato,”Art is that which brings life in harmony with the
beauty of the world.” While for F. Zulueta, “Art is the product of man’s
need to express himself.” And for John Dewey, “Art is an attitude of spirit,
a state of mind-one which demand for each own satisfaction and
fulfilling, a shaping of matter to new and more significant from.”

AS A PROCESS--Is the
arrangement of aesthetic
elements in an appealing
and interesting matter.
.

AS A PRODUCT--It
includes human creation ,
different activities and froms
of expression like painting,
music,
ART IS EXPRESSION--
Expresses the feelings and
ideas shared by all individuals
regardless of culture.

IS IMITATION-- A
representation of
reality.

What is Art Appreciation?

It is the ability to interpret or understand man-made arts and enjoy them either
through actual and work-experience with art tools and materials or possession of
these works of art for one’s admiration and satisfaction. It also centers on the
ability to view art throughout history, focusing on the cultures and the people, and
how art developed in the specific periods. Thus, it is difficult to understand the art
without understanding the culture because the connections to the context of art
and the interaction of societies help us to analyze and appreciate a piece of art.

Assumptions of Art

1. Art Is Universal
 Timeless, spanning generations and continents through and through.
 Misconception: Artistic made long time ago.
 Age is not a factor in determining art.
 Literature has provided key words of art.
 lliad and the Odyssey are the two Greek Epics that one’s being taught in
school.
 The Sanskrit pieces Mahabharata and Ramanaya are also staples in this
fields.
 In every country and in every generation, there is always art. Often times,
people feel that what is considered artistic are only those which have been
made long time ago. This is a misconception. Age is not a factor in
determining art. “An art is not good because it is old, but old because it is
good” (Dudley et al., 1960)
 In the Philippines, the works of Jose Rizal and Francisco Balagtas are not
being read because they are old.
 Florante at Laura never fails to teach high school students the beauty of
love, one that is universal and pure.
 Ibong Adarna, another Filipino masterpiece, has always captured the
imagination of the young with its timeless lessons.
 When we recite the Psalms, we feel in communion with King David as we
feel one with him in his conversation with God.
 When we listen to a Kundiman or perform folk dances, we still enjoy the
way our Filipino ancestors while away their time in the past.

2. Art Is Not Nature

 Art, not directed by representation of reality, is a perception of reality.
 In the Philippines, it is not entirely novel to hear some consumers of local
movies remark that these movies produced locally are unrealistic. They
contend that local movies work around certain formula to the detriment of
substance and faithfulness to reality of movies.
 Paul Cezanne, a french painted a scene from reality entitled Well and
Grinding Wheel in the Forest of the Chateau Noir .

What are the differences between art and nature?

3.Art Involves Experience

 It does not full detail but just an experience. Actual doing of something.
 Getting this far without a satisfactory definition of art can be quite weird for
some. For most people, art does not require a full definition. Art is just
experience. By experience, we mean the “actual doing of something” (Dudley
et al., 1960) and it also affirmed that art depends on experience, and if one is
to know art, he must know it not as fact or information but as an experience.
 A work of an art then cannot be abstracted from actual doing. In order to
know what an artwork, we have to sense it, see and hear it.
 An important aspect of experiencing art is its being highly personal,
individual, and subjective. In philosophical terms, perception of art is always a
value judgment. It depends on who the perceive is, his tastes, his biases, and
what he has inside.
References:
 Dr. Lamucho, V. S., Baesa-Pagay, J. S., et al.(2003) p.3 Basic Assumptions
of the Art
 Toto Wel (November 17, 2018) . Art: Introduction and Assumptions.
http://www.ruel positive.com/art-intoduction-assumptions
 Jhay Baccay. (October 04, 2018) Assumptions-of-art-1.pptx.
http://www.scribd.com.presentation/390111106/Assumptions-of-art-1-pptx
 Keiran, E. (1992). Imagination in Teaching and Learning, pp. 12-37 Panisan,
W.K et,al. (2018). Art appreciation. Mutya Publishing house Inc., pp. 1-7 Ortiz
et. al, (1976). Art perception and appreciation, pp. 5-12
https://sites.psu.edu/civicissueswithsm/2017/04/20/why-we-need-art-in-our-liv
es/

LESSON 2 Functions of Art and Philosophy

I. Topic: Functions of Art and Philosophy

II. Objectives:
At the end of this lesson, the student should be able to:
a) Identify the functions of art;
b) Explain and discuss the basic philosophical perspective on the art;
c) Apply philosophical perspective real life scenarios;

III. Content:
FUNCTIONS OF ART

Functions of art is an inquiry on what art is for. When it comes to functions,

different art form come with distinctive functions, some may be functional more
than others.
The value of the art lies in the practical benefits from it. One may look at the value
based on its specific purpose or for personal.

Personal Functions of Art

 Personal functions of art is highly subjective and depends on the artist who
created the art. An art may be created for expressing self, for entertainment or
for other purposes.

Social Functions of Art

 If an art is opposed to personal interest and for collective interest it is
considered to have a social function. Art may convey, message such as to
support, to protest, contestation and other messages an artist intends to carry
at his work.
 Political Art is a very common example of an art with a social function.
 Art can depict social conditions such as photography of industrialization and
poverty.
 Performance art like plays serves social functions as it rouses emotions for a
common situation a society has.

Physical functions of Art

 This are artworks that are crafted in order to serve physical purpose such as
jars, plates, and jewelries.
 Architecture, jewelry-making, interior design all serves physical functions

Other functions of art may serve culture, history and religion. Music is an
artwork used for different purposes such events for culture, historical and religious
gatherings. Sculpture, poems, spoken poetry, movies and other form of arts are
used for its specific functions.

PHILOSOPHICAL PERSPECTIVE ON ART

Art as an imitation
 In Plato’s The Republic, paints a picture of artists as imitators and art is mere
imitations. In his metaphysics or view of reality, the things in this world are
only copies of the original, the eternal, and the true entities can be found in
the World of Forms.
 Art is just an imitation of imitation. A painting is just an imitation of nature,
which is also an imitation of realty in the World of Forms.

Art as a representation
 Aristotle, agreed with Plato, however he considered art as an aid to
philosophy in revealing the truth.
 Art represents version of reality. In Arestotelian worldview, art serves two
particular purposes: art allows for the experience of pleasure and art has an
ability to be instructive and teach its audience things about life.

Art as a disinterested judgment

 Emmanuel Kant, in his considered the judgement Critique of Judgement, of
beauty, the cornerstone of art, as something universal despite its subjectivity.
He recognized that judgement of beauty is subjective.

Art as a communication of Emotion

 According to Leo Tolstoy, art plays a huge role in communication to its
audience’s emotions that the artist previously experienced
 Art communicates emotions.

CATEGORIES/CLASSIFICATIONS OF ART

1. VISUAL ART (2D, 3D)

a. Painting –It is the application of pigment on any flat two-dimensional surfaces

b. Sculpture –it is the carving, modelling, casting, constructing, and assembling

of materials and objects into primarily three-dimensional works of art.
2. 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 a rhythmic way, usually to music and
within a given space to express 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 live performers, typically actors
or actresses, to present the experience of a real or imagined event.
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 on print mostly opens 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–is the art of applying design, aesthetics, and natural beauty to
clothing and accessories.

b. Furniture Design–is a specialized field where function and fashion collide.

c. Interior Design–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.

Reference/s:
 Cruz, I. G., (September 24, 2019) Lesson3Ffunction of Art and Philosophy)
https://www.scribd.com/presentation/427241720

 Bernardo N.C (2018). Art appreciation. Rex Bookstore Inc.,

 Feldman, E. B. (1992). Varieties of visual experience. Englewood Cliffs, NJ: Prentice
Hall. The Seven Functions of Art (n.d.). Retrieved July 20, 2020, from
https://www.threegracesgalleries.com/single-post/2018/03/18/The-WHAT-IS-ART-S
eriesThe-Seven-Functions-of-Art

LESSON 3 Subject and Content of Art

Introduction
This topic discusses the subject of art, which is a dynamic and forceful as
man’s way of life, culture, and imagination. The subject and content of art never
comes to an end and is never fully worn out and exhausted. The clearness and
simplicity of the subject is vital since the content of the art is the soul of every
artistic creation of masterpiece (Panisan, 2018).

Learning Outcomes
At the end of the topic, you are expected to:
a. differentiate content from subject
b. classify artworks according to subject
c. analyze how artists present their subjects in in relation to the real subject.
d. describe the sources and kinds of art

Learning Content
What are the subjects of arts?
SUBJECT—refers to any person, object, scene or event described or
represented in a work of art.
In general, the subject of an artwork is anything under the sun.

1. REPRESENTATIONAL/OBJECT ARTS
--are artworks that depict something easily recognized by most people.
They attempt to copy something that is real. It also attempts to portray the subject
as it is.
Examples:
1. Still Life is a work of art depicting mostly inanimate subject matter.

2. Portrait is a painting, drawing, photograph or engraving of a person.

3.Landscape, Seascapes, Moonscapes and Cityscapes

4. Mythology and Religion, Dreams and Fantasies

2. NON-REPRESENTATIONAL OR NON-OBJECTIVE ARTS

-- are artworks that have no resemblance to any real subject. They do not
represent anything and they are what they are. They rather appear directly to the
Senses primarily because of the satisfying organization of their sensuous and
expensive elements
Source of Subjects
 Nature
 History
 Greek and Roman Mythology
 Judeo-Christian Tradition
 Sacred Oriental Texts
 Other Works of Art

Types of Art Subject

1. Still Life – a drawing or painting of
an arrangement of non-moving or
nonliving objects usually set indoors
such as bowl or vase.

vggallery.com

2. Self-portrait – a painting, drawing, sculpture or other work of art showing the

artist himself.

Artsy.com
5. Religious Theme – art which subject is of religious matter.

Etsy.com

4. Non-objective – art which the visual signs are entirely imaginative and not from
anything seen by the artist.

Artsy.com

6. Landscape – a picture of natural outdoor scenery such as mountains, rivers,

fields or forest.

pinterest.com
6. Genre – art that has a subject matter that concerns with everyday life, domestic
scenes, sentimental family relationship, etc.

slideshare.com

7. Visionary Expression – art that involves simplification and rearrangement of

natural objects to meet the needs or artistic expression.

pinterest.com

8. Portrait – an art showing a person or several people, usually show just the face
and shoulders but it can include all parts of the body.

en.wikipedia.org
Methods of Presenting the Art Subject
1. Realism – It is the attempt to
portray the subject as is. The
artist selects, changes, and
arranges details to express the
idea he wants to make clear. The
artist main function is to describe
accurately what is observed
through the senses. slideshare.net

2. Symbolism – The presentation of an

invisible sign such as an idea or a quality
into something visible.

slideshare.net
3. Fauvism – Themes are either ethical, philosophical, or psychological.
Subjects express comfort, joy or happiness.

Charing Cross Bridge, London by Andre Derain The Dance by: Henri Matisse

4. Dadaism – A protest
movement formed in 1967 by a
group of artists in Zurich,
Switzerland.

wordpress.com
5. Futurism – Its works aims to capture the speed and force of modern industrial
society and to glorify the mechanical energy of modern life.

slideshare.net

6. Surrealism – It tries to reveal a new and higher reality than that of daily life.
They aim to create a magical world more beautiful than the real one through
art.

slideshare.net

7. Abstraction – “Abstract” means to move away or separate. Abstract art moves

away from showing things as they really are.
Types of Abstraction

1. Distortion – The subject is in misshaped condition

painted by Henriatta Harris henriettaharris.com

2. Elongation – The subject is

lengthened for protraction
or extension.

lorigordon.wordpress.com pinterest.com

3. Mangling – Subjects are either cut, lacerated, mutilated, or hacked.

slideshare.net slideshare.net
4. Cubism – Subjects are shown in basic
geometrical shapes.

slideshare.net
Content in Art
1. Subject – refers to any person,object, scene or event describe or represented
in a work of art; the “WHAT”
2. Content – the meaning that is communicated by the artist or the artwork; the
“WHY”
3. Form – the development and configuration of the art work – how the elements
and the medium or material are put together; “HOW”

References:
Art Perception and Appreciation, Ortiz et al., 1978, pp. 27-32
Alampat; An Introduction to Art Appreciation, Perez, Cayas and Narciso,
2013,pp. 23-25 Cultural Appropriation and the Arts, Young, 2008, pp

LESSON 4 ART AND ARTISANS

I. Topic: Art and Artisans: Production Process, Medium, Technique, Curation

II. Objectives:
At the end of this lesson, the student should be able to:
a) Differentiate artist and artisans
b) Identify production process, medium, technique, and curation
c) Cite Filipino artists and artisans

III. Content:
Concept Notes:

 Artist is an art practitioner such as painter, sculptor, choreographer dancer,

musician, a poet who produces or creates indirectly functional arts with
aesthetic value using imagination.
 Artisan is a craftsman, such as carpenter, carver, plumber, blacksmith,
weaver embroider and etc. who produces directly functional and/or decorative
arts.

Famous Personalties of Art and their Works

1. LEONARDO DA VINCI
• Born: 04-15-1452, Vinci, Italy
• Profile: Painter, Architect, Sculptor, Inventor, Military Engineer
and Draftsman.
• Died: 05-2-1519, Amboise, France
• Quotes: “He who thinks little, errs much”
•Famous Works: The Last Supper, Mona Lisa, Vitruvian Man
2. VINCENT VAN GOGH
• Born: 03-30-1853 Zundert, Italy
• Profile: Painter
• Died: 07-29-1890 Amboise, France
• Quotes: “I dream of painting and then I paint my dream.”
• Famous Works :The Starry Night, Sunflowers, Irises
3. MICHAELANGELO
• Born: 4-6-1475, Michaelangelo, Italy
• Profile: Painter, Architect, Poet
• Died: 2-18-1564, Rome, Italy
• Quotes: “Genius is eternal patience.”
• Famous Works: David Creation of Adam St. Peter’s Basilica
4. CLAUDE MONET
• Born: 11-14-1840, Paris, France
• Profile: Painter, Philosopher
• Died: 12-5-1926, Giverny, France
 • Quotes: “The richness I achieve comes from Nature, the source
of my inspiration.”
•Famous Works: Water Lilies Impresion, Sunrise
Rouen ,Cathedral Series
5. FRIDA KAHLO
` • Born: 07-06-1907, Mexico City, Mexico
• Profile: Painter
• Died: 07-13-1954, Mexico City. Mexico
• Quotes:” I never paint dreams or nightmares. I paint my own
reality.”
• Famous Works: The Two Fridas, SELF-PORTRAIT WITH
THORN NECKLACE AND HUMMINGBIRD, The Broken
Column
6. GEORGIA O’KEEFFE
• Born: 11-15-1887, Wisconsin, USA
• Profile: Painter
• Died: 03-06-1986, New Mexico , USA
• Quotes: “The days you work are the best days.”
• Famous Works: Black Irises III Cow’s Skull: Red, White and
Blue,
Radiator Building Night- New York
7. EDGAR DEGAS
• Born: 7-19-1834, Paris, France
• Profile: Painter, Sculptor
• Died: 9-27-1917, Paris, France
• Quotes: “Art is not what you see, but what you make others
see.”
• Famous Works: The Absinthe Drinker, The Dance Class, The
Bellelli Family
8. EDVARD MUNCH
• Born: 12-12-1863, Adalsbruk, Norway
• Profile: Painter
• Died: 1-23-1944, Oslo, Norway
• Quotes: “From my rotting body, flowers shall grow and I am in
them and that is eternity.
• Famous Works: The Scream, The Day After, The Dance of Life
9. JACKSON POLLOCK
• Born: 1-28-1912, Wyoming, USA
• Profile: Painter
• Died: 8-11-1956, NY, USA
• Quotes: “T he painting has a life of its own. I try to let it come
through.”
• Famous Works The Number 5, The Number 11, The Number 31
10. PABLO PICASSO
• Born: 10-26-1881, Malaga, Spain
• Profile: Painter, Sculptor, Ceramicist, Stage Designer, Poet and
a Playwright.
• Died: 4-8-1973, Mougins, France
• Quotes: “Every child is an artist. The problem is how to remain
an artist once he grows up.”
• Famous Works: Guernica, The Young Ladies of Avignon, The
Weeping Woman
11. GUSTAV KLIMT
• Born: 7-14-1862, Baumgarten, Austria
• Profile: Painter
• Died: 2-6-1918, Vienna, Austria
• Quotes: “Truth is like fire; to tell the truth means to glow and
burn.”
• Famous Works: The Kiss, Portrait of Adele Bloch-Bauer I, The
Virgin
12. HENRY MOORE
• Born: 7-30-1898, Castleford, Unite Kingdom
• Profile: Sculptor
• Died: 8-31-1986
• Quotes: “One never knows what each day is going to bring.
The important thing is to be open and ready for it.”
• Famous Works: Reclining Figures, King and Queen, Bird Basket
13. SALVADOR DALI
• Born: 5-11-1904, Figueras, Spain
• Profile: Painter, Draftsman
• Died: 1-23-1989,Figuerras, Spain
 • Quotes: “Intelligence without ambition is a bird without wings.”
• Famous Works: The Persistence of Memory, Swans Reflecting
Elephants, Premonition of Civil War
14. PAUL CEZANNE
• Born: 1-19-1839, Aix-en, France
• Profile: Painter
• Died: 10- 22-1906, Aix-en, France
• Quotes: “We live in a rainbow of chaos.”
•Famous Works The Bathers, The Card Player Series, Jug,
Curtain and Fruit Bowl
15. DIEGO RIVERA
• Born: 12-8-1886, Guanajuato, Mexico
• Profile: Painter
• Died: 11-24-1957, Mexico city, Mexico
• Quotes: “I've never believed in God, but I believe in Picasso. “
• Famous Works: The Man at the Crossroad, The Card Player
Series, The History of Mexico

Medium and Techniques

 Mediums is the mode of expression in which the concept, idea or message is
conveyed. These are the materials which are used by an artist to interpret his
feelings or thoughts.
 Technique is the manner in which artist controls his medium to achieve the
desired effect. It has something to do with way he manipulates his mediums to
express his idea.

Visual Arts
 Are those mediums that can be seen and which occupy space.
 Examples of visual arts are paintings, drawings, photography and sculpture.

Curation
 An art curator is in charge of managing collections of works of art for a
museum, foundation or an art gallery.
LIST OF GAMABA AWARDIST WITH ART
1. GINAW BILOG- poet, Hanonou, Mangyan Panaytayan, Oriental Mindoro
(1993)
2. MASINO INTARAY- musician and storyteller, Pala’wan Brookes Point,
Palawan (1993)
3. SAMAON SULAIMAN- musician, Mamasa pano, Magundanao (1993)
4. LANG DULAY- textile weaver, T’boli, Lake Sebu, South Cotobato
5. SALINTA MONON- textile weaver, Tagabawa Bagobo, Bansalan, Davao del
Sur
6. ALONZO SACLAG- musician and dancer, Lubugan, Kalinga
7. FEDERICO CABALLERO- epic chanter, Sulod-Bukidnon, Calinog, Iloilo
8. UWANG AHADAS- musician, Yakan Lamitan, Basailan
9. DARHATA SAWABI- textile weaver, Tausug, Parang, Sulu
10. EDUARDO MUTUC- metal smith, Kapampangan, Apalit, Pampanga
11. HAJA AMINA APPI- mat weaver, Sama Tandubas, Tawi-Tawi
12. TEOFILO GARCIA- casque maker, Ilokano, San Quintin, Abra
13. MAGDALENA GAMAYO- textile weaver, Ilokano, Pinili, Ilocos Norte

LIST OF NATIONAL ARTIST Awardee

Date of Award Category
1. Fernando Amorsolo 1972 Painting 16. Vicente S. Manansala 1981 Painting
2. Francisca R. Aquino 1973 Dance 17. Carlos P. Romulo 1982 Literature18.
3. Carlos V. Francisco 1973 Painting Gerardo de Leon 1982 Cinema

4. Amado V. Hernandez 1973 Literature 19. Honorata “Atang” dela Rama 1987

5. Antonio J. Molina 1973 Music Theater and Music

6. Juan F. Nakpil 1973 Architecture 20. Antonino R. Buenaventura 1988 Music

7. Guillermo E. Tolentino 1973 Sculpture 21. Lucrecia R. Urtula 1988 Dance

8. Jose Garcia Villa 1973 Literature 22. Lucrecia R. Kasilag 1989 Music

9. Napoleon V. Abueva 1976 Sculpture 23. Francisco Arcellana 1990 Literature

10. Lamberto V. Avellana 1976 Theater 24. Cesar F. Legaspi 1990 Visual Arts

and Film 25. Leandro V. Locsin 1990 Architecture

11. Leonor O. Goquingco 1976 Dance 26. Hernando R. Ocampo 1991 Visual

12. Nick Joaquin 1976 Literature Arts

13. Jovita Fuentes 1976 Music 27. Lucio D. San Pedro 1991 Music

14. Victorio C. Edades 1976 Painting 28. Lino Brocka 1997 Cinema

15. Pablo S. Antonio 1976 Architecture 29. Felipe P. de Leon 1997 Music
30. Wilfrido Ma. Guerrero 1997 Theater 50. Salvador F. Bernal 2003 Theater
31. Rolando S. Tinio 1997 Theater & Design
Literature 51. Benedicto R. Cabrera 2006 Visual
32. Levi Celerio Arts

1997 Music & Literature 52. Abdulmari Asia Imao 2006 Visual Arts

33. N.V.M. Gonzales 1997 Literature 53. Dr. Bienvenido Lumbera 2006

34. Arturo R. Luz 1997 Visual Arts Literature

35. Jose M. Maceda 1997 Music 54. Ramon Obusan 2006 Dance

36. Carlos Quirino 1997 Historical 55. Fernando Poe Jr. 2006 Cinema

Literature 56. Archt. Ildefonso P. Santos, Jr. 2006

37. J. Elizalde Navarro 1999 Painting Landscape Architecture

38. Prof. Andrea Veneracion 1999 Music 57. Ramon O. Valera 2006 Fashion
Design
39. Edith L. Tiempo 1999 Literature
58. Manuel Conde 2009 Film
40. Daisy H. Avellana 1999 Theater
59. Lázaro Francísco 2009 Literature
41. Ernani J. Cuenco 1999 Music
60. Federico Aguilar Alcuaz 2009 Visual
42. F. Sionil Jose 2001 Literature
Arts
43. Ang Kiukok 2001 Visual Arts
61. Alice Reyes 2014 Dance
44. Ishmael Bernal 2001 Cinema
62. Francisco V. Coching 2014 Visual Arts
45. Severino Montano 2001 Theater
63. Cirilo F. Bautista 2014 Literature
46. Jose T. Joya 2003 Visual Arts
64. Francisco F. Feliciano 2014 Music
(Painting)
65. Ramon P. Santos 2014 Music
47. Virgilio S. Almario 2003 Literature
66. Jose Maria V. Zaragoza 2014
48. Alejandro R. Roces 2003 Literature
Architecture
49. Eddie S. Romero 2003 Cinema &
Broadcast Arts

Reference/s:

 Cunal, B. Art Appreciation Artists and Artisans

https//:www.slideshare.net/mobile/learian/art-appreciation-artists-and-artisan
 Brittanica, Visual Arts
https:www.britannica.com/browse/Visual-Arts
LESSON 5 Elements and Principles of Art

I. Topic: Visual Design Elements and Principles of Visual Design

II. Objectives:
At the end of this lesson, the student should be able to:
a) Identify the elements and principles of elements of visual design;
b) Give the significance of elements and principles of visual design in real life
application;
c) Create a photo collage using elements and principles of visual design.

III. Content:

Concept Notes:

Elements of Art
-Are stylistics features that are included within an art piece to help the artist
communicate. The seven most common elements include lines, shape, texture,
form, space, color and value with the additions of mark making, materiality. When
analyzing these intentionally an element, the viewer is guided toward a deeper
understanding of the work.

What are elements of Art?

Elements of Art
-are the components or part which can be isolated and defined in any visual
design or work of art. They structure and carry the work.

Types of Elements of Art:

1. Line
2. Color
3. Shape
4. Space
5. Texture
6. Value
7. Size
Lines -can be used for a wide range of purposes: stressing a word or phrase,
connecting content to one another, creating patterns, dividing up space and much
more.
- Lines can create a sense of movement or direction in your design.
LINE TYPES
 Vertical- Represents dignity, formality, stability and strength.

 Horizontal- Represents calm, peace and relaxation.

 Diagonal- Represents action, activity, excitement and movement.

 Curved- Represents freedom, the natural, having the appearance of

softness and creates a soothing feeling or mood
Color
 Color has an immediate and profound effect on a design. Colors can affect
how humans feel and act.
 Is used to generate emotions, create unity, make something stand out, and
generally create visual interest.
Categories of Color
Color wheel a tool used to organize color. It is made up of:

 Primary Colors- Red, Yellow, Blue these colors can be mixed, they must be
bought in some form.
 Secondary Colors- Orange, Violet, Green, and these colors are created by
mixing primaries.
 Tertiary/Intermediate Colors- Red Orange, Yellow Green, Blue Violet, etc.;
mixing a primary with a secondary creates these colors.
 Analogous Colors- The analog colors are those colors which lie on either side
of any given color.
 Complementary Colors- are colors that are opposite to each other on the color
wheel. When placed next to each other they look bright and when mixed
together they neutralize each other.
 Monochromatic- is where one color is used but in different values and
intensity.
 Warm Colors- are on one side of the color wheel and they give the feeling of
warmth for example red, orange and yellow are the color of fire and feel warm.
 Cool Colors- are on the other side of the color wheel and they give the feeling
of coolness for example blue, violet are the color of water, green are the color
of cool grass.

PSYCHOLOGY OF COLORS
COLORS POSITIVE NEGATIVE
Defiance, aggression,
RED Strength, courage
strain
Intelligence,trust, calm, Aloofness, lack of
BLUE
coolness, logic emotion, unfriendliness
Optimism, confidence,
Fear, irrationality,
YELLOW self-esteem, friendliness,
anxiety, depression
creativity

Harmony, balance,
GREEN Boredom, blandness
refreshment, rest, peace

Luxury, truth, Quality, Suppression, Inferiority,

VIOLET
Spiritual Awareness Introversion
Physical comfort, food,
Deprivation, frustration,
ORANGE warmth, security, fun,
frivolity, immaturity
abundance
Physical weakness,
Nurture, femininity, love, emotional
PINK
survival of the species claustrophobia,
emasculation
Lack of confidence,
GRAY Psychological neutrality hibernation, lack of
energy
Sophistication, glamour, Coldness, menace,
BLACK
efficiency heaviness, oppression
Hygiene, Sterility, Clarity,
Unfriendliness, elitism,
WHITE Purity, cleanliness,
coldness, barriers
simplicity
 Seriousness, warmth, Lack of humor,
BROWN nature, earthiness, heaviness, lack of
reliability, support sophistication

Form/Shape
 The shape, outline, or configuration of anything.
 can be used to create a pattern, organize and divide space, and draw the
viewer’s attention.

 Geometric Shapes- circles, squares,

rectangles and triangles. We see them in
architecture and manufactured items.
 Organic Shapes- leaf, seashells, flowers.
We see them in nature and with
characteristics that are free flowing,
informal and irregular.

 Positive Shapes- In a drawing or

painting positive shapes are the solid
form in a design such as a bowl of fruit.
In a sculpture it is the form of the
sculpture.
 Negative Shapes- In a drawing it is the
space around the positive shape or the
shape around the bowl of fruit. In
sculpture it is empty shape around and
between the sculptures

Space
 It can enlarge or reduce the visual space.
 is the area around or between elements of the design. It can be used to
separate or group information. Used effectively it can lead the eye through a
design.
 Positive Space: the space the subject
takes up.
 Negative Space: the space
surrounding the subject.

Texture
 refers to what the surface of an object looks and “feels” like. In a graphic
design, you can mimic the look of different textures to add depth, contrast,
and visual interest.

Categories of Texture:
• Real Texture- is the actual texture of an object. Artist may create real texture
in art it visual interest or evoke a feeling.
• Implied Texture—is where a piece of art is made to look like a certain texture.
Like a drawing of a free trunk may look rough but in fact it is just a smooth piece of
paper.

Types
 Smooth surface
 Reflects more light and, therefore, is a more intense color.
 Rough surface
 Absorbs more light, appears darker.

Value
 is how light and dark an area looks. Use value to create depth and
light, to lead the eye, or to emphasize
. Methods
 Shade
 Degree of darkness of a color
 Tint
A pale or faint variation of a color

Size
 is how small or large something is.
Interesting choices regarding size can
attract attention or define the importance
of an element in the design.

Five principles that encompass an interesting design

Principles of Design- are the artistic guidelines used to organize or arrange the
structural elements of design.

Balance
Parts of the design are equally distributed to create a sense of stability.
concept of visual equilibrium, and relates to our physical sense of balance.

Kinds of Balance

Asymmetrical Balance- it involves

placement of objects in a way that will
allow objects of varying visual weight to
balance one another around a central
point.

Symmetrical balance – described as

having equal weight on equal sides of a centrally placed fulcrum.
 ]

Bilateral symmetry – when the elements are

arranged equally o either side of central axis

Radial Balance- this axis may be horizontal

or vertical. It is also possible to build
formal balance by arranging elements
equally around a central point

Rhythm
Refers to a regular repetition of elements
of art to produce the look and feel of
movement. It is often achieved through the
careful placement of repeated components
which invite the viewers eyes to jump rapidly
from one to another

Emphasis
Emphasis is the most personal aspect
of a design. The feature that attracts
viewers. It can be achieved through size,
placement, color and use of lines.

Contrast- is simply defined as difference. Difference between elements or subject

with a work of art or composition.
Movement- is a visual flow
of your design. It’s the path
that you intended your
viewer’s eye to follow.

Harmony- is a visual design means all part of the visual image relate to and
complements each other.

Repetition- helps to create patterns. When you repeat the use of any design
element, it is also creates cohesiveness.

Proportion and Scale

It is the comparative
relationships between elements in a
design with respect to size

Unity
refers how well the elements of design
work together. Visual elements should have
clear relationship with each other in a design.
Reference/s
 Bhadauria, R., (2014) The Elements and Principles of Design
https://slideshare.net/mobile/admecinstitute/principles-of-design-30520900

LESSON 6 Reading the Image

Introduction
In our world of multi- and visual media, we must expand our notion of what a
text is and how we must read it. As more texts are used to convey information
print once did, we must bring to these visual texts critical literacy that will help us
construct meaning from their elements.

Learning Outcomes
At the end of the topic, you are expected to:
a. Categorize various planes in art;
b. Analyze the given photo on contextual plane;

Learning Content
1. SEMIOTIC PLANE
Semiotics is the theory and study of signs and symbols, especially as
elements of language or other systems of communication. Common examples of
semiotics include traffic signs, emojis, and emoticons used in electronic
communication,and logos and brands used by international corporations to sell us
things—"brand loyalty," they call it.

A person who studies or practices semiotics is a semiotician. Many terms and

concepts used by contemporary semioticians were introduced by the Swiss
linguist Ferdinand de Saussure (1857–1913).

Example: Signs
Brands and logo

2. Iconic Plane
The iconic plane includes the choice of the
subject which may bear social and political
implications. Few words are more over-used
than “iconic”. Often when I hear it used, I think
what the speaker really means is ‘recognizable’
‘famous’, or even ‘ubiquitous’. ‘ICONIC’ simply
because it is instantly recognizable.

Examples:Eastern Church . A representation of some sacred personage, as

Christ or a saint or angel, painted usually on a wood surface and venerated itself
as sacred.

Computers. a picture or symbol that appears on a

monitor and is used to represent a command, as a
file drawer to represent filing. The Facebook logo
comes closer to the meaning I am trying to
understand. It is a corporate logo but the image
conjures up broader meanings as well; the power of
social networking… the loss of privacy… the next
generation of the information age. It would be hyperbole to suggest that it
represents human interaction in the early 21st century but I think it conveys more
just a corporate identity.

This Pulitzer Prize-winning photo is what

comes to mind when anyone mentions
Vietnam. It is not just because it depicts
the horrors of that war but because it
depicts them live before the camera
lens.

3.CONTEXTUAL PLANE
It analysis the artwork in a different perspective. It looks at an artwork on a cultural,social,
or political context. It is often used by historians, art critics, or sociologists.

Elements of contextual plane:

• History
• Author
• Influence
• Reaction

Examples:
The Spoliarium is a painting by Filipino
painter Juan Luna. Luna, working on
canvas, spent eight months completing
the painting which depicts dying
gladiators. The painting was submitted
by Luna to the Exposición Nacional de
Bellas Artes in 1884 in Madrid, where it
garnered the first gold medal.

The Mona Lisa is a half-length portrait painting by the

Italian artist Leonardo da Vinci. It is considered an
archetypal masterpiece of the Italian Renaissance,
and has been described as "the best known, the most
visited, the most written about, the most sung about,
the most parodied work of art in the world".
References:
Panisan, W.K et,al. (2018). Art appreciation. Mutya Publishing house Inc.,
Ernesto Thaddeus M. Solmerano. Art Appreciation (2018)
Bernardo N.C (2018). Art appreciation. Rex Bookstore Inc
.

LESSON 7 History of Art

I. Topic: Art History (Asian, Western, Philippines)

Introduction
History shows the intrinsic value of art as a language that narrates the
knowledge, belief and experience of each generation of mankind, it shows the
foundation of civilization through art, where humanity from the past to the present
stipulates their desire for a better life.

Learning Outcome
At the end of the module the students should be able to:
a. Identify the underlying history and philosophy of the era or movement.
b. Classify the various art movement and cite their characteristics such as
historical background, sociopolitical issues, influential persons, prevalent
artists, art forms and media.
c. Present the historical timeline of the arts through the various era and
movement, and
d. Cite/recognize the distinct characteristics of an artwork in an era or movement.

Learning Contents

1. PREHISTORIC ART ( cave art or parietal art)

2. EGYPTIAN &GREEK
3. ROMAN&MEDIEVAL
4. CHINESE&JAPANESE
5. RENAISSANCE&MANNERISM
6. BAROQUE AND ROCOCO
7. NEOCLASISM
8. ROMANTIC AND REALISM

In the history of art, Prehistoric art refers to all artwork produced by ancient men
before any preconceived culture and known methods of writing.

The term cave art is the painting or drawing of figures called petrographs or
petroglyphs to portray a story or to record known history. The term is used mostly
in connection with Stone Age Art created during the last Ice Age, between about
40,000 and 10,000 BCE a period known as the “upper Paleolithic”. It is generally
believed that this was created by the Modern Man ( Homo Sapiens Sapiens ).

• Cave painting or petrographs involves the application of pigment on the walls,

floors or ceilings of ancient rock dwellings inhabited by prehistoric men.
• Most of the prehistoric cave paintings were figures of animals like bison and
reindeer, horses and tracing of human hands. Human figure were rarely shown
and were usually highly stylized and far less naturalistic than the animal figures.
• An example of this are the cave paintings which were found in 1870 at Altimira,
Spain by Don Marcelino and his daughter. These paintings are sometimes called
“The Sistine Chapel of Paleolithic Art”
• The term cave drawing or petroglyphs refers to an engraved drawing that is
etched or done by cutting lines on the rock surface with a sharp object probably a
stone tool.

As of this time there is no clear idea when cave painting first began.
Researchers founded more than a dozen examples of wall painting across Spain
that are more than 65,000 years old. At “Cueva de los Aviones” researchers also
found perforated seashells beads and pigments that are at least 115,000 years
old.
 The Paleolithic Period (Old stone age) in arts was the time when primitive
cave artworks were created with the use of primitive tools by primitive
men.
 The Neolithic Period (New stone age) when man began to develop culture
and change his lifestyle. The naturalistic art style of hunter gatherer of the
Paleolithic had been replaced by geometrically abstract art of Neolithic.

Philippine Primitive Art

 The Angono Petroglyphs Site Museum- Located in the Municipality of
Binangonan, Rizal. It was accidentally founded by National Artist Carlos
“Botong” Francisco with a troop of boy scouts during a field trip in 1965.
 Alab Mountain Province- carving on boulders on top of cliffs, dating was
placed at not earlier than 1500 B.C.
 Petrographs in Penablanca,Cagayan Province- Charcoal drawings on
cave walls
 Petrographs in Anda Peninsula, Bohol- Red hematite prints,dating of
these is still undetermined.
 Themes that appear in Cave Art
 Animals- the most abundant animaldepictions are those of horses,
images of Bisons are also very common. The animals are tend to be
painted larger than the other images.
 Signs- These are abstract symbols that are difficult to interpret because of
their ambiguity. Signs are commonly associated with hunting equipment
and the female form.
 Humans- they are rarely depicted in caves. When they are shown, they
are drawn as a cartoon like silhouette.

‘www.thejournal.ie
 THE ROMAN ART ( 500 B.C. to 1453 A.D. )

 Roman art began around 500 B.C. and ended at the fall of Rome in 1453 A.D.
medieval art covers the production of art and artists in North Africa, Europe
and the Middle East.
 Roman art was developed largely because of the Roman empire, During the
time of Romulus to Emperor Constantine.
 Roman art often depicted Roman mythology because of their belief in the
power of gods, artists also illustrated Roman emperors particularly in
sculpture.
 The Greeks were a great influence in Roman sculpture. But Roman
portraiture showed the skills originality of the Romans by portraying their
emperors, generals and senators with a degree of realism unknown to the
Greeks.

Great Roman Art

MEDIEVAL PERIOD ( c. 450 C.E to 1400 C.E.)

Medieval art covered almost ten centuries between the Sack of Rome (c. 450
C.E.) and the early Italian Renaissance (1400 C.E.).
 Only one institution survived: the Christian Church- centered in Rome and
Constantinople. The church became the main sponsor of architecture and the
other types of art during the medieval era.

 In the beginning of the medieval period, all work of art are commissioned
by religious authorities for churches/monasteries.
 Prominent use of valuable materials such as gold, for objects in churches,
jewelry, mosaic backgrounds.

 Art historians generally classify medieval art into the following periods:
Early Medieval Art, Romanesque Art, and Gothic Art

 Early medieval architecture was predominantly related to building sacred

buildings, such as churches, which was the primary structure signifying
Christian faith. The Roman basilica was the primary model of medieval
architecture. Castles and walls are the most notable examples of
nonreligious medieval architecture.
 Romanesque Architectural style flourished across the western part of
Europe with France as the center of production and innovation.
-It took shape in the eleventh (11th) century, initially developing in France
then spreading to Spain, Germany, Italy, and other regions.
- Romanesque buildings were characterized by semi-circular arches, thick
stone walls, sturdy pillars, barrel vaults,large towers, decorative arcading,
and durable construction.
- Pre-Romanesque or Carolingian was the north European style of the
Renaissance in the late 8th and 9th century during the reign of
Charlemagne
- Ottonian architecture was the later period of Romanesque, developed
under the reign of Emperor Otto the Great (936- 975)

- Sculpture were prevalent during this time, where stone was used to present
biblical subject matter and church doctrines.
- Other significant media are stained glass and the tradition of continued
illuminated manuscripts.

Christi illuminated manuscript

 Gothic art- Originated in the 12th century with the rebuilding of the Abbey
Church in Saint Denis, France.

Gothic architecture offered revolutionary structural advancements such as ribbed

vaults, flying buttresses, and decorative pinnacles all contributing to taller and
lighter building design.
- Gothic architecture was light, graceful and mostly spacious in nature. Heavy
piers were replaced by slender ones while window dimensions became larger
as vaults and spires increased in height.
- Gothic sculptures borrowed motifs from the architecture of the period since it
was primarily used to decorate exteriors of cathedrals and other religious
buildings.

Characteristics of Medieval Art

 Rich colors
 Heavily outlined
 Flat and stiff figures showing no depth
 Religious icons
  Architecture is influenced by Greek and Roman- Byzantine, Romanesque
and Gothic styles emerged from this period.
 Mosaics replaced carved decorations
 Large domes central to the church

Medieval Churches and Monasteries

 Romanesque structures featured pointed arches and heavy thick
walls,small windows like the Roman style. A lot of sculptural decorations
 Gothic structures featured pointed arches and have slender feel as if they
soar upward, large stained glass windows filtered in light and color.
 Byzant arches and lavish decorations. ine structures featured large
domes that cover soaring spaces,

Types of Medieval Art

 Illuminated Manuscripts- These are religious texts decorated with rich
colors, which often featured the use of gold and silver. The word
“illuminated” comes from the word illuminare, meaning adorn.
 Metalwork-Metals with great luster, such as gold, silver, and bronze were
frequently used as mediums in the creation of religious artifacts. Metal
workers transform these beautiful metals into objects of adornment for the
church (sculptures jewelry, and church doors).
 Paintings- Medieval painting includes artwork in iconography, fresco and
panel painting
 Embroidery- It is made of colored wool sewn together to form a
continuous panel. Story of William the Conqueror, the Norman invasion of
England and the Battle of Hastings were embroidered in a linen 20 inches
high and 230 feet long, “The Bayeux Tapestry”.
 Ceramic Art- it is done handmade and not wheel-turned during the
medieval period.
 Mosaics- is the artful creation of pictures with the use of broken pieces
of colored glass, rock, or any other material.
 Sculpture- elongated style of statues used in Romanesque art, a more
naturalistic style in the late 12th and early 13th century.
 Stained Glass- stained glass art makes use of fragmented pieces of
glass set to look like an image or a picture, the pieces are joined together
 by strips of lead supported by a hard durable frame. It was displayed to
the windows of medieval churches, cathedrals and castles.
 Heraldry- was the art and custom of creating coats of arms and badges of
the nobles

 Famous Medieval Artists

 Donatello

Feast of Herod
www.donatello.net

 Leon Battista Alberti

Santa Maria Novelle

www.britannica.com

 Filippo Brunelleschi

Duomo
www.pinterest.com
RENAISSANCE ( Rebirth) 14th to 17th century
 The period in European history, from the 14th to 17th century, was considered
the link the middle ages and the modern history. The term “Renaissance” is
from the same French word, meaning rebirth or revival. It began as a cultural
movement in Italy in the late medieval period and later spread to the rest of
Europe.
 The revival in classical learning characterized by a sharp increase in secular
values and increased interest in learning the classics.
 Renaissance is reflected in humanism. Humanism focused on developing the
full potential of man. This included not only the traditional virtues of love and
honor but also virtues such as judgement, prudence and eloquence.
 Leonardo da Vinci, making observational drawings of anatomy and nature.
 The most important development of the period was not a specific discovery
but rather a process for discovery, the scientific method. Influential promoters
of these ideas include Copernicus and Galileo.

Early Renaissance
By 1500, because of the rediscovery of the classical world, the art of painting
was radically changed. The Renaissance revived ancient forms and content. The
spiritual content of painting changed, and subjects from Roman history and
mythology were borrowed. Devotional art became classically humanized.
Classical artistic principles , harmony, proportion, realistic expression and rational
postures were followed. Active artistic regions in Europe during the period:
Flanders and Italy Almost all early Renaissance art were produced between 1420
and 1550.

 Dome of
Florence
Cathedral by
Filippo
Brunelleschi
 Expulsion from the Garden of Eden by Masaccio

 Jacob and Esau relief, Gates of Paradise by Lorenzo Ghiberti

 The Adoration of the Kings by Hugo van der Goes

 The Birth of Venus by Sandro boticelli

 The Nativity in the Lower Church by Giotto di Bondone

High Renaissance (c. 1490- 1530)

This was the period when classical ideals of humanism were fully implemented in
both painting and sculpture. The preceding Early Renaissance had been centered
on Florence and paid for by the ruling Medici family while the High Renaissance
was centered on Rome and paid for by the Pontiff.
High Renaissance artists wanted beauty and harmony more than realism,
they looked for ultimate truths in the study of the classical world of Greek and
Roman culture.
 Some of the best well-known masterpieces of High Renaissance.

 Genesis, Sistine Chapel Frescoes by Michelangelo

  Virgin of the
Rocks by
Leonardo da
Vinci

 Last Supper

 Mona Lisa

 Transfiguration

Late Renaissance or Mannerism

The word mannerism is derived from the Italian Maniera, meaning “style” or
“manner”. Mannerism was a European art style that appeared in the later years of
Italian High Renaissance around 1520 to 1580.
 In comparison with High Renaissance art that emphasizes proportion,
balance and ideal beauty, Mannerism exaggerates such qualities, often resulting
in compositions that are asymmetrical or unnaturally elegant. It favored
compositional tension and instability rather than the balance and clarity of earlier
Renaissance painting.

 Mostly, the mannerist painting was more artificial than natural. This could
be attributed to such characteristics as the unnatural display of emotions,
unproportionate human figures, unnatural poses, uncommon effects of
scale, use of lighting or perspective, and bright loud color.

The end of the Renaissance was caused largely by the beginning of the
protestant Reformation that set off violent conflicts throughout Europe and
eliminated much of the funding for art.

 Mannerist Painters
Among the finest Mannerist Artists
 Michelangelo, Sistine Chapel Frescoes
 Correggio, First to portray light radiating from the
child Christ
 Agnolo Bronzino, An Allegory with Venus and
Cupid

 Characteristics of Renaissance Art

1. Realism and Expression:
 Emotions was depicted in faces
 Humans are natural and lifelike-very realistic
 Nudity
2. Perspective
 Adjustment in size
 Depth
 Making 3D world on 2D surface
3.Classicism
 Influence of ancient Greeks and Romans
 Secularism
 Symmetry and balance
 4.Individualism
 Emphasizes on the individual singular subject
 Free-standing figures (statues)
 Human beauty
5.Light and Shadow
 Use of light and shadow to create depth
 Chiaroscuro- contrast between light and dark colors
6.Complex Arrangements
 Complicated arrangement of objects
 Lots of complex interactions
 Can be very busy

BAROQUE PERIOD

In Art, the word Baroque was taken from the Portuguese barocco meaning,
“irregular pearl or stone” and originating in Rome.
 Baroque art showed the religious conflicts of the age, the desire of the
Roman Catholic Church to restate itself after the Protestant
Reformation as annunciated at the council of Trent
 Baroque defined something that was extravagant or intricate and
highly detailed.
 The popularity of the style was due to the Catholic Church, which was
determined at the Council of Trent that the art should convey and
express religious ideas and direct emotional involvement in reply to
the Protestant Reformation.
 Catholic- inspired Baroque art served a propagandist role that tended
to be large-scale works of public art, such as monumental wall
painting and huge frescoes for the ceilings and vaults of palaces and
churches.

 Famous Baroque Artists

 Peter Paul Rubens, The Massacre of the Innocents
 Caravaggio, The Crucifixion of Saint Peter
 Rembrandt
 Bernini, Ecstasy of Saint Teresa
  Gian Lorenzo Bernini, created a remarkable series of monumental statues
of saints and figures whose faces and gestures lively expressed their

ROCOCO PERIOD

Rococo is referred to as Late Baroque, which is a hybrid word combining rocaille

(French for “shell”) and barocco . It was also known as the age of artificiality as
depicted in artworks showing unreal or artificial subjects.

 Rococo appeared in France and scattered around the world in the late
17th and early 18th century.
 It started when King Louis XIV requested more youthful art to be created
in his reign.
 Artists in this period emphasized more attention to detail, ornamentation,
and use of bright colors.
 Rococo is focused on secular, light-hearted, asymmetrical design while
continuing the Baroque taste for decorative style.
 Canvasses were decorated with cherubs and myths of love while keeping
with the playful trend of the period.

 Known artists during the Rococo period

 Francois Boucher, the Toilette of Venus
 Jeane Antoine Watteau, Pilgrimage in the Isle of Cythera known as the
father of the Rococo art
 Jean-Honore Fragonard, The Swing

NEOCLASSICAL ART ( 18TH CENTURY)

Began in Europe around 1750 until the mid-nineteenth century, This movement
aspired to save and resurrect the aesthetic and cultural values of the
Greco-Roman civilization.

The archaeological findings in the excavation of the roman cities of Pompeii

and Herculaneum in the mid 18th century had rekindled the interest in the art of
Greco-Roman culture.
 The industrial revolution’s effect led to the rise of the Age of Enlightenment
that saw the importance of technological innovation for the advancement of
humanity.
 Heroes and beings from the Greco-Roman mythology were repeated
subjects in neoclassical paintings and sculpture.
 In sculpture, artists used natural white marble as medium.
 Cool colors in painting and the removal of perspective is were widely used
 It gave importance to simplicity and aesthetic purity

 Famous Artists of Neoclassical Art

 Anton Raphael Mengs, German portraitist
 Joseph-Marie Vien,French
 Pompeo Batoni, Italian
 Angelica Kauffmann, Swiss
 Jacques-Louis David Sculptors
 Antonio Canova
 John Flaxman
 Bertel Thorvaldsen

ROMANTICISM
The industrial revolution began in the latter part of the 18th century. This
revolution brought a new market economy based on new technology. During that
same time, there was a growing reaction against the ideals of the enlightenment
that emphasized science, empirical evidence and rational thought.
 The Romantics opposed the idea that reason was the only way to truth.
 Romantics argued that mysteries could be revealed with emotion, imagination,
and intuition.
 Romantics emphasized a life filled with deep feeling, spirituality, and
 free expression as a defense against the dehumanizing effects of
industrialization.
 Romanticism strongly placed emphasis on emotion and individualism, as well
as glorification of the past and of nature.

 Famous Artist
 Theodore Gericualt
 Eugene Delacroix
  Francisco de Goya
 J.M.W. Turner
 John Constable

IMPRESSIONISM
Impressionism was created by Claude Monet and the other Paris based
artists in the early 1860. They relaxed their brushwork and included pure intense
colors. They abandoned traditional linear perspectives and avoided the clarity of
form. Because of these, many critics questioned Impressionist paintings for their
unfinished appearance and unprofessional quality.
 Impressionism could be regarded as the first modern movement in
painting
 It began in Paris and influenced the entire Europe and eventually, the
United States.
 Its founders were artists who refused the official, government exhibitions,
and were rejected by the powerful academic art institutions.
 In the official yearly art salon of 1863, many artist were not allowed to join,
leading to public outcry.
 In 1863, the Salon des Refuses was formed to allow the exhibition of
works by artist who were refused entrance to the official salon.

The Thames Below Westminster

 Impressionism Artist
 Cezanne
 Pissarro
 Whistler
 Manet
 Renoir
 Sisley
 Degas
POST- IMPRESSIONISM

Post- Impressionism is a French art movement that developed roughly between

1886 and 1905. Post impressionism emerged as a reaction against Impressionist’
concern for the naturalistic depiction of light and color. The movement was led by
Paul Cezanne ( known as the father of PostImpressionism)

 Post-Impressionists rejected the idea of the impressionist that the main

focus of the artwork should be on the opticality of the creation.
 The Impressioniost interest for the depiction of light and color drew a
negative reaction from the Post-Impressionist
 Post-Impressionist artist fought to bring back the emphasis on the subject
matter and the structure in painting that they felt was lost
 Post-Impressionist movement focused on the emotional, structural,
symbolic and spiritual elements that they felt were lacking in
Impressionism.

A Sunday Afternoon on
the Island of La Grande Jatte

 Post-Impressionist Artist
 Paul Cezanne
 Vincent van Gogh
 Paul Gauguin

References:
Panisan, W.K et,al. (2018). Art appreciation. Mutya Publishing house Inc.,
Ernesto Thaddeus M. Solmerano. Art Appreciation (2018)
Bernardo N.C (2018). Art appreciation. Rex Bookstore Inc.
LESSON 8 Medieval Period

The Medieval Period of music is the period from the years c.500 to 1400
It is the longest “period” of music (it covers 900 years!!) and runs right through
from
around the time of the fall of the Western Roman Empire to the beginning of the
Renaissance.
Here is an overview of several features of Medieval music that is good for you to
have an understanding of.

MONOPHONIC MUSIC

The vast majority of medieval music was monophonic – in other words, there
was only a single melody line. (“mono-phonic” literally means “one sound”).
The development of polyphonic music (more than one melody line played at the
same time (“poly-phonic” means “many sounds”)) was a major shift towards the
end of era that laid the foundations for Renaissance styles of music.

GREGORIAN CHANT

Gregorian chant, consisting of a single line of vocal melody, unaccompanied

in free rhythm was one of the most common forms of medieval music.
This is not surprising, given the importance of the Catholic church during the
period.
The Mass (a commemoration and celebration of The Last Supper of Jesus
Christ) was (and still is to this day) a ceremony that included set texts (liturgy),
which were spoken and sung.
Have a listen to this example of Gregorian Chant:

Play Procedamus in Pace

By Paterm (Own work) [CC BY-SA 3.0 via Wikimedia Commons]

The chants were also based on a system of modes, which were

characteristic of the medieval period.
There were 8 church modes – (you can play them by starting on a different white
note
on a piano and playing a “scale” of 8 notes on just the white notes. For example, if
you start on a D and play all the white notes up to the next D an octave higher,
you will have played the “Dorian Mode”).

THE DEVELOPMENT OF POLYPHONIC MUSIC

As the Medieval Period progressed, composers began to experiment and
polyphonic styles began to develop.

ORGANUM
Organum was a crucial early technique, which explored polyphonic texture. It
consisted of 2 lines of voices in varying heterophonic textures.

The 3 main types of organum are:

Parallel organum (or “strict organum”)

One voice sings the melody, whilst the other sings at a fixed interval – this gives a
parallel motion effect. Have a listen to this synthesised example of parallel
organum:
Parallel Organum audio example
Free organum
The 2 voices move in both parallel motion and/or contrary motion.
Have a look at this example of free organum and listen to the track of the
beginning
being played on a synthesised choir sound:

Melismatic organum
An accompanying part stays on a single note whilst the other part moves
around above it.
Have a listen to this synthesised example – notice how the 2nd voice stays on
the same note whilst the 1st voice “sings” the melody:
 Melismatic Organum audio example
Here are some other recorded examples of organum, which are worth listening to:

SHEET MUSIC IN THE MEDIEVAL PERIOD

The Catholic Church wanted to standardise what people sung in churches
across the Western world.
As a result, a system of music notation developed, allowing things to move on
from the previously “aural” tradition (tunes passed on “by ear” and not written
down).

NUEMES
These were signs written above chants giving an indication of the direction of
movement of pitch.
Here is an example of an 11th century manuscript containing nuemes:

As the medieval period progressed, nuemes developed gradually to add more

indication of rhythm, etc..

INSTRUMENTS OF THE MEDIEVAL PERIOD

There were a number of characteristic instruments of the Medieval Period
including:

Flutes (made of wood)

Medieval flutes looked more like the
modern day recorder as they had
holes for fingers rather than keys.
Dulcimer
The medieval dulcimers were originally
plucked, but then hit with hammers as
technology developed.

Lyra
The lyra is considered to be one of
the first known bowed instruments

Other medieval instruments included the recorder and the lute.

The period was also characterised by – these were troubadours and trouvères
travelling singers and performers.

SECULAR STYLES OF MEDIEVAL MUSIC

Ars Nova (“new art”) was a new style of music originating in France and Italy
in the 14th century.
The name comes from a tract written by Philippe de Vitry in c.1320
The style was characterised by increased variety of rhythm, duple time and
increased freedom and independence in part writing. These experimentations laid
some of the foundations for further musical development during the Renaissance
period
The main secular genre of Art Nova was the chanson
Examples of Art Nova composers include Machaut in France and G. Da Cascia, J.
Da Bologa and Landini in Italy
LESSON 9 The Baroque Period

History of Baroque Music and Origins

Baroque theatre in Český Krumlov

Teatro Argentina (Panini,1747,Musée du Louvre)

BAROQUE MUSIC

Baroque music is a style of Western art music composed from approximately 1600 to 1750. This
era followed the Renaissance, and was followed in turn by the Classical era. The word “baroque”
comes from the Portuguese word barroco meaning misshapen pearl, a negative description of the
ornate and heavily ornamented music of this period. Later, the name came to apply also to the
architecture of the same period.

Baroque music forms a major portion of the “classical music” canon, being widely studied,
performed, and listened to. Composers of the Baroque era include Johann Sebastian Bach, George
Frideric Handel, Alessandro Scarlatti, Domenico Scarlatti, Antonio Vivaldi, Henry Purcell, Georg
Philipp Telemann, Jean-Baptiste, Lully, Arcangelo Corelli, Tomaso Albinoni, François Couperin,Denis
Gaultier, Claudio Monteverdi, Heinrich Schütz, Jean-Philippe Rameau, Jan Dismas Zelenka, and
Johann Pachelbel.
 The Baroque period saw the creation of tonality. During the period, composers and performers
used more elaborate musical ornamentation, made changes in musical notation, and developed new
instrumental playing techniques. Baroque music expanded the size, range, and complexity of
instrumental performance, and also established opera, cantata, oratorio, concerto, and sonata as
musical genres. Many musical terms and concepts from this era are still in use today

Etymology
Periods of
Western classical music
AD / CE

Early
Medieval c. 500–1400
Renaissance c. 1400–1600

Common practice
Baroque c. 1600–1760
Classical c. 1730–1820
Romantic c. 1815–1910

Modern and contemporary

Modern c. 1890–1930
20th century 1901–2000
Contemporary c. 1975–present
21st century 2001–present

History of European art music

The term “Baroque” is generally used by music historians to describe a broad range of styles from
a wide geographic region, mostly in Europe, composed over a period of approximately 150 years.

Although it was long thought that the word as a critical term was first applied to architecture, in fact
it appears earlier in reference to music, in an anonymous, satirical review of the première in October
1733 of Rameau’s Hippolyte et Aricie printed in Mercure de France, the in May 1734. The critic
implied that the novelty in this opera was “du barocque,” complaining that the music lacked coherent
melody, was filled with unremitting dissonances, constantly changed key and meter, and speedily ran
through every compositional device.
 The systematic application by historians of the term “baroque” to music of this period is a relatively
recent development. In 1919, Curt Sachs became the first to apply the five characteristics of Heinrich
Wölfflin’s theory of the Baroque systematically to music. Critics were quick to question the attempt to
transpose Wölfflin’s categories to music, however, and in the second quarter of the 20th century
independent attempts were made by Manfred Bukofzer (in Germany and, after his immigration, in
America) and by Suzanne Clercx-Lejeune (in Belgium) to use autonomous, technical analysis rather
than comparative abstractions, in order to avoid the adaptation of theories based on the plastic arts
and literature to music. All of these efforts resulted in appreciable disagreement about time boundaries
of the period, especially concerning when it began. In English the term acquired currency only in the
1940s, in the writings of Bukofzer and Paul Henry Lang.

As late as 1960 there was still considerable dispute in academic circles, particularly in France and
Britain, whether it was meaningful to lump together music as diverse as that of Jacopo Peri, Domenico
Scarlatti, and J.S. Bach under a single rubric. Nevertheless, the term has become widely used and
accepted for this broad range of music. It may be helpful to distinguish the Baroque from both the
preceding (Renaissance) and following (Classical) periods of musical history.
History

The Baroque period is divided into three major phases: early, middle, and late. Although they
overlap in time, they are conventionally dated from 1580 to 1630, from 1630 to 1680, and from 1680 to
1730.

Early baroque music (1580–1630)

Claudio Monteverdi in 1640

The Florentine Camerata was a group of humanists, musicians, poets and intellectuals in late
Renaissance Florence who gathered under the patronage of Count Giovanni de’ Bardi to discuss and
guide trends in the arts, especially music and drama. In reference to music, they based their ideals on
a perception of Classical (especially ancient Greek) musical drama that valued discourse and oration.
As such, they rejected their contemporaries’ use of polyphony and instrumental music, and
discussed such ancient Greek music devices as monody, which consisted of a solo singing
accompanied by a kithara. The early realizations of these ideas, including Jacopo Peri’s and Dafne
L’Euridice, marked the beginning of opera, which in turn was somewhat of a catalyst for Baroque
music.
Concerning music theory, the more widespread use of figured bass (also known thorough bass as )
represents the developing importance of harmony as the linear underpinnings of polyphony. Harmony
is the end result of counterpoint, and figured bass is a visual representation of those harmonies
commonly employed in musical performance. Composers began concerning themselves with
harmonic progressions, and also employed the tritone, perceived as an unstable interval, to create
dissonance. Investment in harmony had also existed among certain composers in the Renaissance,
notably Carlo Gesualdo; However, the use of harmony directed towards tonality, rather than modality,
marks the shift from the Renaissance into the Baroque period. This led to the idea that chords, rather
than notes, could provide a sense of closure—one of the fundamental ideas that became known as
tonality. By incorporating these new aspects of composition, Claudio Monteverdi furthered the
transition from the Renaissance style of music to that of the Baroque period. He developed two
individual styles of composition – the heritage of Renaissance polyphony (prima pratica) and the new
basso continuo technique of the Baroque(seconda pratica). With the writing of the operas L’Orfeo
L’incoronazione di Poppea and among others, Monteverdi brought considerable attention to the new
genre of opera.

Middle baroque music (1630–1680)

The rise of the centralized court is one of the economic and political features of what is often
labelled the Age of Absolutism, personified by Louis XIV of France. The style of palace, and the court
system of manners and arts he fostered became the model for the rest of Europe. The realities of
rising church and state patronage created the demand for organized public music, as the increasing
availability of instruments created the demand for chamber music

Jean-Baptiste Lully
 The middle Baroque period in Italy is defined by the emergence in the cantata, oratorio, and opera
during the 1630s of the bel-canto style. This style, one of the most important contributions to the
development of Baroque as well as the later Classical style, was generated by a new concept of
melody and harmony that elevated the status of the music to one of equality with the words, which
formerly had been regarded as preeminent. The florid, coloratura monody of the early Baroque gave
way to a simpler, more polished melodic style, usually in a ternary rhythm. These melodies were built
from short, cadentially delimited ideas often based on stylized dance patterns drawn from the
sarabande or thecourante. The harmonies, too, were simpler than in the early Baroque monody, and
the accompanying bass lines were more integrated with the melody, producing a contrapuntal
equivalence of the parts that later led to the device of an initial bass anticipation of the aria melody.
This harmonic simplification also led to a new formal device of the differentiation of recitative and aria.
The most important innovators of this style were the Romans Luigi Rossi and Giacomo Carissimi, who
were primarily composers of cantatas and oratorios, respectively, and the VenetianFrancesco Cavalli,
who was principally an opera composer. Later important practitioners of this style include Antonio
Cesti, Giovanni Legrenzi, and Alessandro Stradella

The middle Baroque had absolutely no bearing at all on the theoretical work of Johann Fux, who
systematized the strict counterpoint characteristic of earlier ages in his Gradus ad Paranassum (1725).
One pre-eminent example of a court style composer is Jean-Baptiste Lully. He purchased patents from
the monarchy to be the sole composer of operas for the king and to prevent others from having operas
staged. He completed 15 lyric tragedies and left unfinished . Achille et Polyxène
Musically, he did not establish the string-dominated norm for orchestras, which was inherited from the
Italian opera, and the characteristically French five-part disposition(violins, violas—in hautes-contre,
tailles and quintes sizes—and bass violins) had been used in the ballet from the time of Louis XIII. He
did, however, introduce this ensemble to the lyric theatre, with the upper parts often doubled by
recorders, flutes, and oboes, and the bass by bassoons. Trumpets and kettledrums were frequently
added for heroic scenes.

Arcangelo Corelli
Arcangelo Corelli is remembered as influential for his achievements on the other side of musical
technique—as a violinist who organized violin technique and pedagogy—and in purely instrumental
music, particularly his advocacy and development of the concerto grosso. Whereas Lully was
ensconced at court, Corelli was one of the first composers to publish widely and have his music
performed all over Europe. As with Lully’s stylization and organization of the opera, the concerto
grosso is built on strong contrasts —sections alternate between those played by the full orchestra, and
those played by a smaller group. Dynamics were “terraced”, that is with a sharp transition from loud to
soft and back again. Fast sections and slow sections were juxtaposed against each other. Numbered
among his students is Antonio Vivaldi, who later composed hundreds of works based on the principles
in Corelli’s trio sonatas and concerti.

In contrast to these composers, Dieterich Buxtehude was not a creature of court but instead was
church musician, holding the posts of organist and Werkmeister at the Marienkirche at Lübeck. His
duties as Werkmeister involved acting as the secretary, treasurer, and business manager of the
church, while his position as organist included playing for all the main services, sometimes in
collaboration with other instrumentalists or vocalists, who were also paid by the church. Entirely
outside of his official church duties, he organised and directed a concert series known as
theAbendmusiken, which included performances of sacred dramatic works regarded by his
contemporaries as the equivalent of operas

Late baroque music (1680–1730)

George Frideric Handel Johann Sebastian Bach, 1748

Through the work of Johann Fux, the Renaissance style of polyphony was made the basis for the
study of composition.

A continuous worker, Handel borrowed from others and often recycled his own material. He was
also known for reworking pieces such as the famous Messiah , which premiered in 1742, for available
singers and musicians.
Baroque instruments

Baroque instruments including hurdy gurdy, harpsichord, bass viol, lute, violin, and
guitar

A double-manual harpsichord after Jean-Claude Goujon (1749)

Strings

 Violino piccolo
 Violin
 Viol
 Viola
 Viola d’amore
 Viola pomposa
 Tenor violin
 Cello
 Contrabass
 Lute
 Theorbo
 Archlute
 Angélique
 Mandolin
 Guitar
 Harp
 Hurdy gurdy

Woodwinds
 Baroque flute
 Chalumeau
 Cortol (also known as Cortholt, Curtall, Oboe family)
 Dulcian
 Musette de cour
 Baroque oboe
 Rackett
 Recorder
 Bassoon
 Clarinet

Brasses
 Cornett
 Natural horn
 Baroque trumpet
 Tromba da tirarsi (also called tromba spezzata )
 Flatt trumpet
 Serpent
 Sackbut (16th- and early 17th-century English name for
FR:saquebute saqueboute , ; ES: sacabuche ; IT: trombone;
MHG: busaun, busîne,busune / DE (since the early 17th century) Posaune )
 Trombone (English name for the same instrument, from the early 18th century)

Keyboards
 Clavichord
 Tangent piano
 Fortepiano – early version of piano
 Harpsichord
 Organ

Percussion
 Baroque timpani
 Wood snare drum
 Tenor drum
 Tambourine
 Castanets

Styles and forms

The Baroque
The Baroque suite often consists of the following movements:

 Overture – The Baroque suite often began with a French overture (“Ouverture” in French), which
was followed by a succession of dances of Different types, principally the following four:
 Allemande – Often the first dance of an instrumental suite, the allemande was a very
popular dance that had its origins in the German Renaissance era, when it was more often
called the almain. The allemande was played at [ citation needed] a moderate tempo and could
start on any beat of the bar.
 Courante – The second dance is the courante, a lively, French dance in triple meter. The Italian
version is called the corrente.
 Sarabande – The sarabande, a Spanish dance, is the third of the four basic dances, and is one of
the slowest of the baroque dances. It is also in triple meter and can start on any beat of the bar,
although there is an emphasis on the second beat, creating the characteristic ‘halting’, or iambic
rhythm of the sarabande.
 Gigue – The gigue is an upbeat and lively baroque dance in compound meter, typically the
concluding movement of an instrumental suite, and the fourth of its basic dance types. The gigue
can start on any beat of the bar and is easily recognized by its rhythmic feel. The gigue originated
in the British Isles. Its counterpart in folk music is thejig.

These four dance types (allemande, courant, sarabande, and gigue) make up the majority of
17th-century suites; later suites interpolate one or more additional dances between the sarabande and
gigue:

 Gavotte – The gavotte can be identified by a variety of features; it is in 4/4 time and always starts
on the third beat of the bar, although this may sound like the first beat in some cases, as the first
and third beats are the strong beats in quadruple time. The gavotte is played at a moderate tempo,
although in some cases it may be played faster.
 Bourrée – The bourrée is similar to the gavotte as it is in 2/2 time although it starts on the second
half of the last beat of the bar, creating a different feel to the dance. The bourrée is commonly
played at a moderate tempo, although for some composers, such as Handel, it can be taken at a
much faster tempo.
 Minuet – The minuet is perhaps the best-known of the baroque dances in triple meter. It can start
on any beat of the bar. In some suites there may be a Minuet I and II, played in succession, with
the Minuet I repeated.
 Passepied – The passepied is a fast dance in binary form and triple meter that originated as a
court dance in Brittany. Examples can be found in later suites such as those of Bach and Handel.
 Rigaudon – The rigaudon is a lively French dance in duple meter, similar to the bourrée, but
rhythmically simpler. It originated as a family of closely related southern-French folk dances,
traditionally associated with the provinces of Vavarais, Languedoc, Dauphiné, and Provence.

Other features

 Basso continuo – a kind of continuous accompaniment notated with a new music notation system,
figured bass, usually for a sustaining bass instrument and a keyboard instrument
 The concerto and concerto grosso
 Monody – an outgrowth of song
 Homophony – music with one melodic voice and rhythmically similar accompaniment (this and
monody are contrasted with the typical Renaissance texture,polyphony)
 Dramatic musical forms like opera, dramma per musica
 Combined instrumental-vocal forms, such as the oratorio and cantata
 New instrumental techniques, like and tremolo pizzicato
 The da capo aria “enjoyed sureness”.
 The ritornello aria – repeated short instrumental interruptions of vocal passages.
 The concertato style – contrast in sound between groups of instruments.
 Extensive ornamentation

Genres
Vocal
 Opera
 Zarzuela
 Opera seria
 Opéra comique
 Opera-ballet
 Masque
 Oratorio
 Passion (music)
 Cantata
 Mass (music)
 Anthem
 Monody
 Chorale

Instrumental
 Chorale composition
 Concerto grosso
 Fugue
 Suite
 Allemande
 Courante
 Sarabande
 Gigue
 Gavotte
 Minuet
 Sonata
 Sonata da camera
 Sonata da chiesa
 Trio sonata
 Partita
 Canzona
 Sinfonia
 Fantasia
 Ricercar
 Toccata
 Prelude
 Chaconne
 Passacaglia
 Choral

LESSON 10 The Classical Music

Classical Music(1750-1810)

Classical with a 'c' means anything that is top class, and particularly refers to the ancient Greeks and
Romans. With a 'C' it means a specific style of composers. The term classical is commonly and
incorrectly applied to any music which is not modern. The correct term for this is actually art music.

Composers of the Period

 Composer Nationality
Stamitz German (Bohemian
Gluck (1714- 1787) German
C.P.E. Bach German
J.C. Bach German
Beethoven (1770- 1827) German
Haydn (1732-1809)* Austrian
Mozart (1756-1791)* Austrian

The composers marked with an asterisk are the most important to remember.

Style Galant
This is an early classical style, and a very courtly style. It was meant to please the listener, as
opposed to making the listener think. C.P.E. Bach and J.C. Bach were the main composers who made
use of this style.

Later Classical Style

This style made more of balance and control, grace and beauty of melody, and the form or design
became important.

Texture
Classical music is basically homophonic. (Baroque music was polyphonic.)

The Orchestra
The Orchestra began to grow. The harpsichord continuo gradually fell out of use. Wind
instruments became more important, especially the horns to bind the texture. Strings were still the
main instrument to which were added two horns, one or two flutes, or a pair of oboes. Gradually,
composers added one or two bassoons, and occasionally a pair of trumpets, or a pair of kettle drums.
Clarinets were introduced towards the end of the 18th Century. Mozart was the composer responsible
for popularising the clarinet. The woodwind section became a self-contained section:

 One or two flutes

 Two oboes
 Two clarinets
 Two bassoons
 Two horns
 Two trumpets
 Two kettledrums
 Strings
Music for Piano
Invented as early as 1698, by Cristofori in Italy. This instrument allows soft
and loud notes to be played. The strings were hit by hammers, as opposed to
being plucked. More expression could be played (e.g. Legato, staccato, cantabile.)

The Alberti Bass is simple broken chords, repeated in the left hand, which keeps the music going, and
outlines the harmony.

C. P.E. Bach was one of the first piano composers, and started composing around 1750. J.C. Bach
gave the first piano performance in London. A lot of music was printed for harpsichord or piano, but the
harpsichord gradually faded out of use.

Sonata
A Sonata is a work, in several movements, for one or two instruments. With three instruments it is
a trio, with four it is a quartet, and with five it is a quintet.

The Symphony
Symphony means a sonata for orchestra. It grew from the Italian Overture, but the Symphony has
three movements, instead of three sections. Later on, a fourth movement was added (commonly a
minuet in trio). Stamitz was the frost famous symphony composer, and the father of this style, Haydn
and Mozart perfected the Symphony in the second half of the 18th Century. The Symphony can be
broken down into:

 First movement: Usually fast, and in sonata form.

 Second movement.. Usually slower and more song-like. It could be in sonata form or ternary form,
and perhaps with variations.
 Third movement: Haydn and Mozart wrote a minute in trio at this point. Beethoven later turned
this into a Scherzo (A direct translation is joke.)
 Fourth movement: Fast, often light hearted, perhaps in Rondo form, or sonata form, or with
variations.

Haydn wrote numerous sonatas, including the Surprise Symphony, the Drum Roll Symphony and the
London Symphony. Trios and quartets were also in four movements. Sonatas might have three or four
movements. The Classical Concerto did not include the minuet, so only had three movements.

Sonata Form
Sonata form is a way of building up an individual movement, not a piece. It consists of three sections:
1. The Exposition: The composer exposes his musical ideas. The main ideas are called subjects. The
first subject is in the tonic, which modulates (changes key) near the end to a bridge (transition)
passage, which leads to the second subject. The second subject is in a new, but related, key, often the
dominant (Sta) or relative major (If the first subject is m a minor key). The second subject is usually
more tuneful.
2. Development: Here the ideas are developed. It creates a feeling of tension and conflict. The climax
may be in this section.
3. Recapitulation: The music is repeated from the beginning, but the second subject is now in the
tonic. Finally, the music may have a coda (A direct translation is tail), which rounds off the music.

The Concerto
It contains a solo instrument and an orchestra. There are three movements (slow, fast, slow). The
first movement has a double-exposition. The first is for the orchestra alone, followed by the soloist.
The second, with the second subject group in the related key. Then comes the development and the
recapitulation, for both the orchestra and the soloist. Towards the end, the orchestra pauses, and the
soloist plays a cadenza (a short passage,'based on themes heard earlier, which displays the brilliance
of the player.) When the soloist finishes, the soloist ends with a trill, which signifies the orchestra
should come in and finish off the piece. The orchestra plays the coda to end.

Opera
Classical composers wrote much vocal music, especially opera. Gluck was an important opera
composer. Orfeo ed Euridice is one of his works. He made the actions more important in the opera. At
the start of the opera, the overture prepared the audience for what was to come, Mozart wrote operas
including The Marriage of Figaro, The Magic Flute and Don Giovanni. The Magic Flute is an example
of singspiel (an opera in which singing is mixed up with dialogue). The orchestra mirrors the mood and
drama of the action. Don Giovani is an example of 'opera buffa' (comic opera).

Ludwig van Beethoven (1770-1827)

Beethoven composed to please himself. He wrote 32 piano sonatas, nine symphonies. The 9th
Symphony is the Choral Symphony. He wrote one opera, called Fidelio. Towards the end of his life he
became deaf. He could still composer, and hear the sounds in his head, but had great difficulty in
conducting his works.
Beethoven modified Classical music. His music is weightier, and on a larger scale. There is more
emotion in his music, and his last movements are usually the most important. He uses more discords,
more dynamic contrast and more contrast in pitch. He increased the size of the orchestra, for example,
he often added a 3rd horn and a piccolo, and also added a choir in his 9th symphony.

The Main Characteristics of Classical Music

1. Less complicated texture than Baroque (more homophonic).
2. Emphasis on beauty, elegance and balance.
3. More variety and contrast within a piece than Baroque
(dynamics, instruments, pitch, tempo, key, mood and timbre).
4. Melodies tend to be shorter than those in baroque, with clear
cut phrases, and clearly marked cadences.
5. The orchestra increases in size and range. The harpsichord fails out
of use. The woodwind becomes a self-contained section.
6. The piano takes over, often with Alberti bass accompaniment.
7. Importance was given to instrumental music - sonata, trio, string
quartet, symphony, concerto.
8. Sonata form was the most important design
.

LESSON 10 Soul-Making

I. Topic: Soul-making

II. Objectives:
At the end of this lesson, the student should be able to:
a) Define soul-making and identify art improvisation and art appropriation;
b) Give the significance of soul-making;
c) Perform Spoken Poetry.

II. Content:

Concept Notes:

Soul-making is an alternative venue for knowing ourselves and looking into the depths and real
meaning of what we are doing for everyday life. It develops our inner artist and it helps us to
communicate with people, understanding culture and embodying tolerance and peace. It opens door
for multiple intelligences and expressions.

Soul-Making: Making and Deriving Meaning from Art

 In order for the human to make sense of language and derive meanings from words, semantic,
and grammatical rules are important elements to be considered.
 In order to people to make sense of the work, it require understanding the visual elements where
art was the grounded on, specially the principle of design,
 Important to note the audience of the said artwork must have certain level of awareness to the
style, artwork, form, and content of the said work.
 Form- is the totally of the artwork, which includes the textures, colors, and shapes utilized by the
artist.
 The content of an artwork includes not only form but also its subject matter and its underlying
meanings or themes.

Improvisation

 Doing something without prior preparation.

 There is a decision to act upon something that may not necessarily be planned.
 Some would say that it is a reaction against the stiffness in the arts during the twentieth century,
because it blurs the line of reality and that origin of that imagination
 Infusing spontaneity and improvisation adds up to the totality of the work of art.
 It allows the artist to explore and think about how the audience can actually be a part of the work in
itself.

Appropriation

 The practice of using pre-existing objects and images in an artwork without really altering the
originals.
 This notion paved the way for the emergence of appropriation artist who seem to promote the idea
that authorship relies on the viewer.
 Traditionally, forgery can be classified into two forms: outright copies of existing works and
pastiches, which are works that bring together elements from a work and infusing them to a new
work.
 The intentions of the appropriation artist are often questioned since issues of plagiarism or forgery
sometimes arise, because some would argue that the reason behind this is that they want the
audience to recognize the images they copied.

What are the categories of soulmaking? Describe each category.

The Categories of soulmaking are the following:

1. . Crafting Images. It refers to imaging or representing in any form, which may be through painting,
sculpting, drawing, storytelling, poetry, dancing, composing, or talking notes.Crafting images is just like weaving,
quilting, or doing crochet; it is not creating works out of nothing (Narciso, 2012)
 Crochet Quilting Weaving

2. Crafting Stories. The moment we write, engrave and inscribe our own thoughts, ideas,
commentaries, criticisms, and positive and negative emotions, we are crafting stories. Stories that can
be presented in any form, - image, words, objects, and musical composition.

3. . Crafting Instruments. An instrument maker is a bridge toward the unknown because the
instrument produces sound that transcend our feelings, emotions, and sensation in another realm
(Narciso, 2016).

4. Crafting movements. Our life is full of movements; it is filled with various beats. Life if full of
flowing images accompanied by narratives. Everything we do in life is a performance, we perform life.
 5. Crafting techniques. Anything can be crafting by using different evocative descriptions of
experiences and explorations like photograph studies, puppets and masks, constructions, and
notepad studies.

Reference:
Jadulco, L., Art-App-06.-Soulmaking-Appropriation-and-Improvisation
https://www.scribd.com/presentation/408835585/Art-App-06-Soulmaking-Appropriation-and-Impro
visation-pptx.
Young, J. O. (2008). Cultural Appropriation and the Arts. (New Directions in
Aesthetics). Blackwell Publishing Ltd. (2008).

LESSON 12 Indigenous Art

Introduction

Filipinos are probably one of the most creative and colorful people around. You can tell this just by
looking at the types of art that we have. Sadly, some of these art forms are now dying as the younger
generation does not seem to have any interest in learning about them. But the fact remains that not a
lot of young ones know the process and hardwork that go with these arts.
The indigenous arts most sensitively reflect this communal orientation. Being the most lucid
andexpressive symbols of a culture’s values, the arts are the most powerful instruments of inquiry into
the essential character of a culture. It is undeniable that the following basic concepts and attributes of
art and the conditions of artistic creation, expression and expression and experience could only have
arisen in communal or integral Filipino cultural settings.
Art is not synonymous with big production costs because because what matters is artistic
excellence or the creative idea as well as making art part of everyday life. Thus, the least expensive
medium, e.g. paper for kites, is regarded highly and not considered inferior to the costlier ones. And
even the most practical objects like a coconut grater, container, knife handle, tree stump, mat, or hat
can become a medium for the finest art.

Learning Outcome
 At the end of the lesson, the student should be able to:
a. trace and summarize the indigenous art;
b. create a symmetry art inspired by Okir/Ukkil; and
c. appreciate better the history and development of Philippine arts.

Learning Content

Indigenous Arts are those native arts that have grown naturally through the years in a certain
locality. Indigenous arts include the Torogan of Muslim Mindanao (previously discussed),
bahay-kubo, bahay bale, bahay na bato, and other indigenous house. Traditional arts and crafts
are not indigenous arts per se since these arts did not naturally exist in the particular area from
time immemorial.
Some of this Indigenous Art is:

1. Architecture
Wander over the world heritage site, Banaue Rice Terraces, Eighth Wonder of the World
carved from the high Cordilleras over 2,000 years ago. These rice terraces were carved out of the
mountains by the native Ifugao people. The Ifugao made the walls out of hardened mud and clay
while they flattened the slopes it could hold water essential for rice growth. It had been the way of
life of the Ifugao mountain tribes for the past 2,000 years, kept alive up to this day.

https://theculturetrip.com/asia/philippines/

2. Sculpture
Sculpture is three-dimensional artwork created by shaping or combining hard materials, typically
stone such as marble, metal, glass, or wood, or plastic materials such as clay, textiles, polymers and
softer metals. Carving is one of the techniques used in sculpture. The most important type of sculpture,
in its quality, quantity and continuing use, are wooden bulul or bulol carved by Ifugao craftsmen of
Mountain Province, Luzon. Often made in pairs, male and female, bulul represent guardian deities and
are placed in rice granaries to ensure beautiful rice.
3. Weaving
Weaving means to make cloth and other objects. Threads or strands of material are passed under
and over each other. Most of the common forms of weaving in the Philippines are in the form of hats,
mats, bags, baskets and textiles (clothes and blankets). This brought the ikat technique of resist –
dyeing of the warp thread and the concept of using textiles in death ceremonies. Weavers were further
influenced by imported materials: they imitated the new designs, integrating them with their traditional
textiles. Weaver imigrants appear to have brought the ikat technique to the Isinai and Ifugao people of
Luzon.
Abaca fiber derived from the abaca plant is widely grown in certain regions ‘n the country. It is
woven mainly to make ‘sinamay’ fabric and abaca rope, as well as specialty papers like vacuum bags,
currency, and tea bags.

4. Pottery
Pottery are objects that are first shaped of wet clay, then hardened by baking. Pottery includes
both decorative and practical items such as bowls, vases, dishes, and lamps. Pottery in the Philippines
varies in forms and functions. The forms of the pots are directly influenced by the functions of the pots
and the tradition of the community or local area. An example of this is the palayok, which is used for
cooking, Banga and Tapayan are used for storing liquids. There is also the clay-made stove or kalan.
The burnay pottery in Ilocos Sur is still a lively tradition that continues up to the present.
5. Body Adornment
Physical ornamentation can be categorized into three areas specifically the use of traditional
costumes (textile), jewelries and tattoos. The design vary depending on the location, users and
function of the ornaments. Since the early 16th century, jewelry making in the country has been
practiced.

Indigenous Materials
The materials in indigenous arts come from native materials or local materials that are found in the
locality. Some of these are the sawali, coco coir, bagasse, abaca, bamboo, palm frond stems, mud
bricks, rattan, rice husks, cogon, wood, and stone.

1. Sawali. This material comes from the outer

covering of bamboo poles. It is woven into mats and
ideal for cement backing.
 2. Coco coir. This by-product of coconut is
used to minimize the use of cement and as
sandwich panels for insulation.

3. Bagasse. This is sugar cane waste used for

insulation or cement backing

4. Abaca. This is a fiber material obtained from

the leaf stalk of a banana plant. Most of these
materials are found in the Bicol Region.

5. Bamboo. This indigenous material has low

degree of elasticity, low concrete adhesion, but wide
variable moisture content. It is very useful in
architectural forms and designs, mainly as
reinforcement to concrete.

6. Palm frond stems. This material is often used for

non-structural panels, walls, screens, and bases of
houses. Despite being widely used, it is susceptible to
termites and have to be replaced every 4 to 5 years. To
raise its life span to 15 years and above, the material
must be treated with anti-termite chemical like solignum
or the structure must be raised above the ground.
 7. Mud Bricks. This material is brittle, has less
strength, and cannot stand up well to tension. However, it
is the choice of the building materials in places with hot,
dry climates due to its low thermal conductivity

Indigenous materials are widely used in architecture such as in the construction of

bahay-kubo, bahay bale, bahay na bato and other indigenous architectural structures.

Bahay Kubo
-is a cultural icon, a cultural heritage and as a symbol of togetherness. Bahay kubo is also
known as “nipa-hut”. This typical hut symbolizes the typical Filipino family as a close knit family.

Bahay na Bato
- it is also known as “house of stone” or better still, “stone house”. This type of house is
considered as an updated version of the traditional bahay kubo whereas in the bahay. This type of
indigenous house uses a Chinese tiled roof or sometimes nipa or cogon roof but today, these
roofings are being replaced by styled galvanized irons with various shapes and designs.
Ifugao Bale (or Native House)
-This type of indigenous house is sometimes referred to as “No-Nail House” because it was
constructed without the use of nails.it is considered to be one of the most indigenous and nearly
perfect architectural constructs ever made by man. They are known as the “architectural marvel” of
the century.
Local carpenters of Banaue who are called “munhabats” built the Ifugao bale as part of
dangah or free service.the bale evolved from primitive dwelling called “abong” which is equivalent
to “house” in Pangasinan dialect.
The Ifugaos observe the “ngilin” which is a pagan ritual, and during the construction of this
house, the munhabats abstain from sex right before they start building the bale

References
Ariola, Mariano M. 2018. Art Appreciation. Intramuros Manila: Unlimited Books Library
Services and Publishing Inc.
Leano Roman D., Agtani, Jenny Marsha B. Art Appreciation. Manila. Mindshapers Co.,Inc.