Music and Arts 10 TG

HORIZONS
Grade 10
Teacher’s Guide
Music and Arts Appreciation

for Young Filipinos
Raul M. Sunico, Ph.D.

Evelyn F. Cabanban
Melissa Y. Moran
GOVERNMENT PROPERTY
NOT FOR SALE
ALLOTTED TO
District/ School: ____________________________________________________________
Division: ____________________________________________________________
First Year of Use:____________________________________________________________
Source of Fund (year included): ______________________________________________
Department of Education
Republic of the Philippines
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
HORIZONS Grade 10
Teacher’s Guide
Music and Arts Appreciation for Young Filipinos
ISBN 978-971-793-022-0
Philippine Copyright 2015

by Tawid Publications
All rights reserved. No part of this book may be reproduced or transmitted in any form or by any
means—electronic or mechanical, including photocopying, recording, or any information storage
or retrieval system without prior written permission from the publisher.
Published by
Tawid Publications
102 B. Gonzales St., Xavierville II
Loyola Heights, Quezon City 1108
Metro Manila, Philippines
(+63-2) 453-7918
tawidcorp@yahoo.com; tawidpub@gmail.com
Editorial Board
Editors:
Evelyn F. Cabanban
Melissa Y. Moran
Milagros P. Valdez, language reader
Coordinator: Evelyn F. Cabanban
Cover Design: Rowena E. Cabanban

Cover Art and Divider Art: Joe Dureza
ii
TABLE OF CONTENTS
MUSIC
Quarter I MUSIC OF THE 20th CENTURY ............................................... 1
Impressionism to Modern Nationalism ........................................... 2
Electronic Music and Chance Music................................................. 12
Quarter II AFRO-LATIN AMERICAN AND POPULAR MUSIC.............. 19
African Music and Latin American Music........................................ 20
Jazz, Popular Music, and OPM .................................................... 29
Quarter III CONTEMPORARY PHILIPPINE MUSIC ................................. 36
Traditional Composers ............................................................. 37
New Music Composers ............................................................. 46
Song Composers ............................................................. 53
Quarter IV 20th and 21st CENTURY MULTIMEDIA FORMS.................... 61
Opera in the Philippines.................................................................... 62
Ballet in the Philippines .................................................................... 71
Philippine Musical Plays................................................................... 78
iii
ARTS
Quarter I MODERN ART ............................................................................... ..90
Impressionism ............................................................................... 91
Expressionism: A Bold New Movement........................................... 97
Abstractionism .................................................................................. 101
Abstract Expressionism, Pop Art, Op Art ......................................... 105
Installation and Performance Art ................................................... 111
Quarter II TECHNOLOGY-BASED ART ................................................... 117
Computer / Digital Art ................................................... 118

Mobile Phone Art / Computer-generated Images ............................. 123
Digital Photography ................................................... 127
Video Games / Digital Painting / Imaging Videos............................ 131
Quarter III MEDIA-BASED ARTS AND DESIGN

IN THE PHILIPPINES ............................................................ 137
Photography ...................................................................................... 138

Film ................................................................................................... 143
Animation / Comics Illustration / Digital Print Media...................... 147
Innovation in Product and Industrial Design..................................... 155
Quarter IV ORIGINAL PERFORMANCE

WITH THE USE OF MEDIA ................................................... 162
Philippine Theater and Performing Groups ..................................... 163

Culminating Activity: Staging an Original Performance.................. 168
Music Glossary ........................................................................................................ 172

Music Pronunciation Guide ..................................................................................... 175
Arts Glossary .......................................................................................................... 176

Arts Pronunciation Guide ........................................................................................ 179
Music Bibliography ................................................................................................. 180

Arts Bibliography..................................................................................................... 181
iv
MUSIC
Grade 10
Teacher’s Guide
DepEd Complex, Meralco Avenue
Pasig City
K to 12 Curriculum Guide
MUSIC
(Grade 10)
December 2013
K to 12 BASIC EDUCATION CURRICULUM
CONCEPTUAL FRAMEWORK
Both the Music and the Arts curricula focus on the learner as recipient of the knowledge, skills, and values necessary for ar tistic expression and
cultural literacy. The design of the curricula is student-centered, based on spiral progression of processes, concepts and skills and grounded in performance-
based learning. Thus, the learner is empowered, through active involvement and participation, to effectively correlate music and art to the development of his/her
own cultural identity and the expansion of his/her vision of the world.
As Music and Arts are performance-based disciplines, effective learning occurs through active experience, participation, and performance, creative
expression, aesthetic valuation, critical response, and interpretation. The skills that are developed include reading/analyzing, listening/observing, performing,
(singing, using musical instruments, movement, acting, and playing, using different art materials, techniques and processes, responding, composing, and
creating. (See Figure 1 and Figure 2)
The philosophical foundations upon which standards and competencies are based include: A Process of Education by Jerome Bruner, Performance-Based
Learning by Cleve Miller, Aesthetic Education by Bennett Reimer, Multiple Intelligences by Howard Gardner, A Structure for Music Education by Ronald
Thomas, Gongs and Bamboo by Jose Maceda, Compendium on the Humanities: Musical Arts produced by the National Research Council of the Philippines,
Cultural Dictionary for Filipinos by Thelma Kintanar and Associates, Creative and Mental Growth by Viktor Lowenfeld and W. Lambert Brittain, Discipline-Based Art
Education by Elliot Eisner, Encyclopedia of Philippine Arts and Tuklas Sining, both produced by the Cultural Center of the Philippines.
PHILOSOPHY AND RATIONALE FOR MUSIC EDUCATION
Music is both an aural and a temporal art. All its elements, when interwoven in the highest artistic order, are likened into a -- tapestry moving in time. The
global weavings of this tapestry in historical and cultural contexts are diverse -- having spurred a continued metamorphosis to include a full range of purposes,
functions, and identities, from the utilitarian to aesthetic.
However, the basic nature of music does not change. In his book A Structure for Music Education, Ronald Thomas articulates that the nature of music is
expressive, ongoing, and creative. Through a language and medium of its own, music conveys ideas and feelings in a way that addresses the human spirit, and
has great value in its communicative process. Music, being responsive in interpreting contemporary times, is a continuing art. Aaron Copland describes this
characteristic as a continuous state of becoming. Like the other arts, music is a creative avenue for man’s individual quest for self- expression and fulfillment.
On these basic characteristics are founded the rationale of music study. A keen sensitivity to environmental and musical sounds needs to be developed.
The student must learn to ―hear, ―speak, and ―think in the medium of music. Simultaneously, growth and development in the skills that enable the application of the
learner’s knowledge should be encouraged, through active involvement in the various musical processes.
Drawing from the development of music pedagogy through the years, the K-10 Music Curriculum embodies the best practices advocated by the
SPIRAL, MULTI-CULTURAL, and INTEGRATIVE approaches in music education, as well as current philosophical tho ught about contemporary general education.
We envision that Music in the K-10 Program will effectively nurture and refine the learner’s artistic expression and cultural literacy, and celebrate his/her
national heritage, while it instils, within every individual Filipino learner, pride in his/her own cultural identity.
Figure 1. The Curriculum Framework of Music and Arts Education

Grade 12Mastery of Proficiency in the chosen form or genre
Grade 10Application of Contemporary Music and Arts
Grade 9Application – Western Music and Arts
Grade 8Application – Asian Music and Arts
Grade 7Application – Philippine Folk Music and Arts
Grade 6Application for Appropriate Mastery and Acquisition of Skills
Grade 5Exploration – Elements / Processes
Grade 4Formal Introduction to Elements / Processes
Grade 3Preliminary Acquisition of Basic Knowledge and Skills
Grade 2Enhanced Understanding of Fundamental Processes
Grade 1Introduction to the Fundamental Processes
KindergartenExposure to the Different Music & Art Processes

(Experiential Learning)
Figure 2. Content of Music and Arts per Grade Level

Table 1. Basic Reference for Music Content
Music Elements Music Processes
-creating)
*No formal instruction in harmony
from K to 3
LEARNING AREA STANDARD: The learner demonstrates an understanding of basic concepts and processes in music and art through appreciation,
analysis and performance for his/her self-development, celebration of his/her Filipino cultural identity and diversity, and
expansion of his/her world vision.
KEY STAGE STANDARDS:
K-3 4-6 7 – 10
The learner demonstrates understanding of The learner demonstrates understanding of The learner demonstrates understanding of
fundamental processes through basic elements and concepts through salient features of music and art of the
performing, creating, and responding, performing, creating, and responding, aimed Philippines and the world, through appreciation,
aimed towards the development of towards the development of appreciation of analysis, and performance, for self-
appreciation of music and art, and music and art, and acquisition of basic development, the celebration of Filipino cultural
acquisition of basic knowledge and skills. knowledge and skills. identity and diversity, and the expansion of
one’s world vision.
GRADE LEVEL STANDARDS:
Grade Level Grade Level Standards
Kindergarten The learner is exposed to the different basic music and art processes through experiential learning.
The learner demonstrates basic understanding of the fundamental processes in music and art, through performing, creating, listening and observing, and
Grade 1
responding.
The learner demonstrates understanding of the basic and fundamental processes in music and art, through performing, creating, listening and observing,
Grade 2
and responding.
The learner has acquired the basic and fundamental processes through performing, creating, listening and observing, and responding, towards the
Grade 3
development of appreciation of music and art, and the acquisition of basic knowledge and skills.
Through the formal introduction of elements, the learner can identify the basic knowledge and skills in music and art, towards self-development, the
Grade 4
celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
Through exploration, the learner demonstrates a deeper understanding of basic knowledge and skills in music and art, towards self-development, the
Grade 5
celebration of Filipino cultural identity and diversity, and expansion of one’s world vision.
Through application, the learner demonstrates understanding of the basic concepts of and processes in music and art, towards self-development, the
Grade 6
The learner demonstrates basic understanding of the fundamental processes in music and the arts through performing, creating, listening and observing,
Grade 7
and responding towards appreciation of the cultural richness of the different provinces in the Philippines.
The learner demonstrates understanding of salient features of Asian music and the arts, through appreciation, analysis, and performance for self-
Grade 8
development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
The learner demonstrates understanding of salient features of Western music and the arts from different historical periods, through appreciation,
Grade 9
analysis, and performance for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
The learner demonstrates understanding of salient features of contemporary music and the arts, through appreciation, analysis, and performance, for
Grade 10
self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
MUSIC - GRADE 10
MUSIC OF THE 20TH CENTURY
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
FIRST QUARTER
A. Impressionism The Learner… The Learner... The Learner... *Edukasyong
1. listens perceptively to Pangkatawan,
a) Historical and demonstrates understanding creates musical pieces selected 20th century music; Kalusugan at
cultural background of 20th century music styles usingparticular style/s of the Musika. Sacdalan,
MU10TC-Ia-h-1
b) Composers: Claude and characteristic features. 20th Century. Guinevere IV. et
Debussy, and al, 1999. pp.182,
Maurice Ravel 203-208
2. describes distinctive musical *Edukasyong
B. Expressionism elements of given pieces in Pangkatawan,
20th century styles; Kalusugan at
a) Historical and MU10TC-Ia-h-2 Musika. Sacdalan,
cultural background Guinevere IV. et
b) Composer: al, 1999. pp. 203-
Schoenberg 208
3. relates 20th century music to *Edukasyong
C. Others its historical and cultural Pangkatawan,
background; Kalusugan at
a) Electronic music MU10TC-Ia-g-3 Musika. Sacdalan,
b) Chance music Guinevere IV. et
al, 1999. pp. 203-
208
4. explains the performance *Edukasyong
practice (setting, composition, Pangkatawan,
role of composers/performers, Kalusugan at
and audience) of 20 century
th
MU10TC-Ib-g-4 Musika. Sacdalan,
music; Guinevere IV. et
al, 1999. pp. 203-
208
5. sings melodic fragments of
given Impressionism period MU10TC-Ib-5
pieces;
6. explores other arts and
media that portray 20th MU10TC-Ic-h-6
century elements through
STANDARDS MATERIALS
A. Impressionism demonstrates understanding creates musical pieces video films or live
of 20th century music styles usingparticular style/s of the performances;
a) Historical and and characteristic features. 20th Century. 7. create short electronic and
cultural background chance music pieces using
b) Composers: Claude knowledge of 20th century
Debussy, and styles.
Maurice Ravel
B. Expressionism
a) Historical and
cultural background MU10TC-Ic-h-7
b) Composer: Schoenberg
C. Others
a) Electronic music
b) Chance music
SECOND QUARTER
AFRO-LATIN AND The Learner… The Learner... The Learner...
POPULAR MUSIC
demonstrates understanding performs vocal and dance 1. observes dance styles,
1. Historical and (cultural of characteristic features of forms of Afro-Latin American instruments, and rhythms of
background of African Afro-Latin American music music and selections of Afro Latin American and MU10AP-IIa-g-
and Latin American music and Popular music Popular music popular music through 1
2. Background of Popular video, movies and live
music performances;
3. African music 2. describes the historical and
a. Rhythms: Maracatu cultural background of Afro-
MU10AP-IIa-g-
b. Vocal forms: blues, Latin American and popular
2
soul, spiritual, call music;
STANDARDS MATERIALS
and response demonstrates understanding performs vocal and dance 3. listens perceptively to Afro-
4. Latin American music of characteristic features of forms of Afro-Latin American Latin American and popular MU10AP-IIa-h-
a. Instruments Afro-Latin American music music and selections of music ; 3
b. Vocal and Dance and Popular music Popular music
4. dances to different selected
form: Cumbia, tango, MU10AP-IIa-h-
styles of Afro-Latin American
cha-cha. Rumba, 4
and popular music;
bossanova, reggae,
5. analyzes musical
foxtrot, pasa doble MU10AP-IIa-h-
characteristics of Afro-Latin
5. Jazz 5
American and popular music;
a. Instrumental forms: 6. sings selections of Afro-Latin
ragtime, big band, American and popular music MU10AP-IIa-h-
bebop, jazz rock in appropriate pitch, rhythm, 6
6. Popular music style, and expression;
a. Ballad, standard, 7. explores ways of creating
rock and roll, sounds on a variety of
alternative music, sources suitable to chosen MU10AP-IIa-7
disco vocal and instrumental
selections;
8. improvises simple
vocal/instrumental MU10AP-IIe-f-
accompaniments to selected 8
songs;
9. choreographs a chosen
MU10AP-IIb-d-
dance music;
9
10. evaluates music and music
performances using
knowledge of musical MU10AP-IIa-h-
elements and style. 10
THIRD QUARTER
CONTEMPORARY The Learner… The Learner... The Learner...
PHILIPPINE MUSIC 1. listens perceptively to
(Minimum of 4 composers for demonstrates understanding sings contemporary songs excerpts of major MU10CM-IIIa-
each) of characteristic features of Contemporary works; h-1
contemporary music sings contemporary songs
STANDARDS MATERIALS
1. Traditional demonstrates understanding 2. describes characteristics of MU10CM-IIIa-
Composers of characteristic features of traditional and new music; h-2
contemporary music 3. gives a brief biography of *Edukasyong
a. Lucio San Pedro selected Contemporary Pangkatawan,
b. Antonino Philippine composer/s ; Kalusugan at
Buenaventura MU10CM-IIIc- Musika.
c. Antonio Molina g-3 Sacdalan,
d. Alfredo Buenaventura Guinevere IV. et
e. Rodolfo Cornejo al, 1999. pp.209-
f. Bernardino Custodio 220, 247-259
g. Antonio Buencamino 4. sings selections of
h. Hilarion Rubio Contemporary music with MU10CM-IIIb-
i. Rosendo Santos appropriate pitch, rhythm, h-4
j. Ryan Cayabyab style, and expression;
5. explores ways of creating
2. New Music MU10CM-IIId-
sounds on a variety of
e-5
sources;
a. Chino Toledo 6. improvises simple
b. Ramon Santos vocal/instrumental
c. Jose Maceda MU10CM-IIId-
accompaniments to selected
d. Manuel Maramba e-5
songs;
e. Lucresia Kasilag
f. Francisco Feliciano 7. create a musical on the life
g. Jerry Dadap of a selected contemporary MU10CM-IIIg-
h. Jonas Baes Philippine composer; h-7
3. Song Composer
a. Constancio de
Guzman
b. Mike Velarde 8. evaluates music and music
c. Ernani Cuenco performances using MU10CM-IIIh-
d. Restie Umali knowledge of musical 8
e. George Canseco elements and style.
f. Levi Celerio
g. Angel Pena
h. Leopoldo Silos
i. Santiago Suarez
STANDARDS MATERIALS
FOURTH QUARTER
20th and 21st century The Learner… The Learner... The Learner...
MULTIMEDIA FORMS 1. describes how an idea or
1. demonstrates 1. performs selections story in a musical play is MU10MM-IIIa-
1. OPERA understanding of from musical plays, presented in a live h-1
a) La Loba Negra characteristic ballet, opera in a performance or video;
b) Noli Me Tangere features of 20th and satisfactory level of 2. explains how theatrical
c) El Filibusterismo 21st century opera performance. elements in a selected part
musical play, ballet of a musical play are MU10MM-IIIa-
2. BALLET and other 2. creates a musical combined with music and h-2
a) Lola Basyang multimedia forms. work using media & media to achieve certain
b) Rama Hari technology. effects;
2. demonstrates 3. sings selections from
3. MUSICAL PLAY understanding of MU10MM-IIIc-
musical plays and opera
a) Andres Bonifacio the relationship h-3
expressively;
b) Atang among music, 4. creates / improvises
c) Katy technology, and appropriate sounds, music,
d) Florante at Laura media.
gestures,movements, and MU10MM-IIIc-
e) Daragang costume using media and h-4
Magayon technology for a selected
f) Noli Me Tangere
part of a musical play;
g) El Filibusterismo
5. present an excerpt from a
h) Magsimula ka
20th or 21st century
Philippine musical and MU10MM-IIIg-
highlight its similarities and h-5
differences to other western
musical play.
DepEd Complex, Meralco Avenue
Pasig City
K to 12 Curriculum Guide
ART
(Grade 10)
December 2013
CONCEPTUAL FRAMEWORK
Both the Music and the Arts curricula focus on the learner as recipient of the knowledge, skills, and values necessary for ar tistic expression and
cultural literacy. The design of the curricula is student-centered, based on spiral progression of processes, concepts and skills and grounded in performance-
based learning. Thus, the learner is empowered, through active involvement and participation, to effectively correlate music and art to the development of his/her
own cultural identity and the expansion of his/her vision of the world.
As Music and Arts are performance-based disciplines, effective learning occurs through active experience, participation, and performance, creative
expression, aesthetic valuation, critical response, and interpretation. The skills that are developed include reading/analyzing, listening/observing, performing,
(singing, using musical instruments, movement, acting, and playing, using different art materials, techniques and processes, responding, composing, and
creating. (See Figure 1 and Figure 2)
The philosophical foundations upon which standards and competencies are based include: A Process of Education by Jerome Bruner, Performance-Based
Learning by Cleve Miller, Aesthetic Education by Bennett Reimer, Multiple Intelligences by Howard Gardner, A Structure for Music Education by Ronald
Thomas, Gongs and Bamboo by Jose Maceda, Compendium on the Humanities: Musical Arts produced by the National Research Council of the Philippines,
Cultural Dictionary for Filipinos by Thelma Kintanar and Associates, Creative and Mental Growth by Viktor Lowenfeld and W. Lambert Brittain, Discipline-Based Art
Education by Elliot Eisner, Encyclopedia of Philippine Arts and Tuklas Sining, bothproduced by the Cultural Center of the Philippines.
PHILOSOPHY AND RATIONALE FOR ARTS
The Arts has been present since the beginning of civilization as it is an essential means for man to live and communicate with others. It has been used to
enhance man’s life and surroundings, to express his thoughts, dreams, and spiritual beliefs, and to share his own and his community’s aspirations, celebrations,
and events. Arts records, reflects, and rearranges man’s life and existence.
The Arts is a visualization of a people’s history and uniqueness, a reflection of their creativity and accomplishments, and a visible expression of their distinct
way of thinking, communicating, reasoning, and worshiping. It is expressed in a unique symbol system that is visual, kinetic and tactile. Howard Gardner,
an educator and psychologist, affirms that the arts develop the child’s “SPATIAL, INTRAPERSONAL, LINGUISTIC AND KINESTHETIC INTELLIGENCES” for the Arts
develop a distinct way of seeing, thinking, communicating, and creating in a person. Furthermore, Art develops and increases a person’s ability to apply
creative and new solutions, for new problems in our world. Schools, therefore, need to develop the multiple intelligences of a student through the arts. The K-
12 Arts Curriculum seeks to address these needs of our students for the 21st Century.
The 21st Century is a different world: it is highly visual, with a proliferation of images seen not only in static media like magazines, books, paintings and posters.
Now images are kinetic and accessible in various media like television, outdoor advertisements, movies, cell phones, and new technologies like iPads, iPods, DVD
players, personal computers, and tablets. Artists create, upload and share via the Internet, images, sounds, texts, films, videos, pictures, artworks and designs.
These are readily available and interactive, involving the viewer to react, comment and utilize these visuals through the Internet. Teaching Art to students is one way
for them to process and interpret the barrage of images and sounds, in a critical and intelligent manner.
The focus of the K-12 Art curriculum is PHILIPPINE ART, CULTURE and HERITAGE, appreciating the diversity of our local artists, our arts, crafts, and indigenous
materials to strengthen the student’s identity of being Filipino, before he/she is introduced to the art of other countries. The modules guide educators and provide
our students with art experiences, concepts, and processes that are presented in a SPIRAL PROGRESSION of difficulty and depth from Kindergarten to Grade 12.
The approach is CHILD-CENTERED and HANDS-ON in creating art using locally available materials. It develops the student’s imagination and individual
expression, and his/her CRITICAL THINKING SKILLS through inquiry into the aesthetic qualities of his work, the work of others and of artists from the Philippines
and other parts of the world. It culminates in connecting art to other subject areas and provides exposure and apprenticeship to professionals in various art-related
fields so the student can discover and consider the different career opportunities in the arts.
Figure 1. The Curriculum Framework of Music and Art

Education
Grade 10Application of Contemporary Music and Arts
Grade 9Application – Western Music and Arts
Grade 8Application – Asian Music and Arts
Grade 7Application – Philippine Folk Music and Arts
Grade 6Application for Appropriate Mastery and Acquisition

of Skills
Grade 5Exploration – Elements / Processes
Grade 4Formal Introduction to Elements / Processes
Grade 3Preliminary Acquisition of Basic Knowledge and

Skills
Grade 2Enhanced Understanding of Fundamental Processes
Grade 1Introduction to the Fundamental Processes
KindergartenExposure to the Different Music & Art Processes

(Experiential Learning)
Figure 2. Content of Music and Art per Grade Level

Table 1. Basic Reference for Music and Art Content
Music Elements Arts Elements and Principles Music Processes Art Processes
-creating) Shape/Form -creating)
Texture * Contrast
*No formal instruction in harmony

(transference)
from K to 3
LEARNING AREA STANDARD: The learner demonstrates an understanding of basic concepts and processes in music and art through appreciation,
analysis and performance for his/her self-development, celebration of his/her Filipino cultural identity and diversity, and
expansion of his/her world vision.
KEY STAGE STANDARDS:
K-3 4–6 7 – 10
The learner demonstrates understanding of The learner demonstrates understanding of The learner demonstrates understanding of
fundamental processes through basic elements and concepts through salient features of music and art of the
performing, creating, and responding, performing, creating, and responding, aimed Philippines and the world, through appreciation,
aimed towards the development of towards the development of appreciation of analysis, and performance, for self-
appreciation of music and art, and music and art, and acquisition of basic development, the celebration of Filipino cultural
acquisition of basic knowledge and skills. knowledge and skills. identity and diversity, and the expansion of
one’s world vision.
GRADE LEVEL STANDARDS:
Grade Level Grade Level Standards
The learner demonstrates basic understanding of the fundamental processes in music and art, through performing, creating, listening and observing, and
Grade 1
responding.
Grade 2 The learner demonstrates basic and fundamental processes in music and art, through performing, creating, listening and observing, and responding.
The learner has acquired the basic and fundamental processes through performing, creating, listening and observing, and responding, towards the
Grade 3
development of appreciation of music and art, and the acquisition of basic knowledge and skills.
Through the formal introduction of elements, the learner can identify the basic knowledge and skills in music and art, towards self-development, the
Grade 4
Through exploration, the learner demonstrates a deeper understanding of basic knowledge and skills in music and art, towards self-development, the
Grade 5
celebration of Filipino cultural identity and diversity, and expansion of one’s world vision.
Through application, the learner demonstrates understanding of the basic concepts of and processes in music and art, towards self-development, the
Grade 6
The learner demonstrates basic understanding of the fundamental processes in music and the arts through performing, creating, listening and observing,
Grade 7
and responding towards appreciation of the cultural richness of the different provinces in the Philippines.
The learner demonstrates understanding of salient features of Asian music and the arts, through appreciation, analysis, and performance for self-
Grade 8
development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
The learner demonstrates understanding of salient features of Western music and the arts from different historical periods, through appreciation, analysis,
Grade 9
and performance for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
The learner demonstrates understanding of salient features of contemporary music and the arts, through appreciation, analysis, and performance, for
Grade 10
self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
GRADE 10
CONTENT PERFORMANCE
CONTENT LEARNING COMPETENCY CODE
STANDARDS STANDARDS
GRADE 10- FIRST QUARTER

MODERN ART The learner… The learner… The learner…
a. Impressionism 1. art elements and 1. performs/ participate 1. analyze art elements and
b. Expressionism processes by competently in a principles in the
c. Cubism synthesizing and presentation of a creative production of work
d. Dadaism applying prior impression following a specific art A10EL-Ib-1
e. Surrealism knowledge and skills (verbal/nonverbal) from style from the various art
f. Abstract Realism the various art movements movements
g. Pop Art 2. the arts as integral
h. Op Art to the development 2. recognize the difference 2. identify distinct
i. Performance Art of organizations, and uniqueness of the art characteristics of arts from
A10EL-Ia-2
j. Happenings and Mob spiritual belief, styles of the various art the various art movements
historical events, movements (techniques,
scientific discoveries, process, elements, and 3. identify representative
I. Principles of Art natural disasters/ principles of art) artists and Filipino
1. Rhythm, Movement occurrences and counterparts from the A10EL-Ia-3
2. Balance other external various art movements
3. Emphasis phenomenon
4. Harmony, Unity, and Variety 4. reflect on and derive the
5. Proportion mood, idea, or message
A10PL-Ih-1
from selected artworks
II. Process:
6. Painting and/ or Drawing 5. determine the role or
7. Sculpture and Assemblage function of artworks by
8. Mounting an exhibit: evaluating their utilization
2.1 Concept A10PL-Ih-2
and combination of art
2.2 Content / Labels elements and principles
2.3 Physical layout
6. use artworks to derive the
traditions/history of the A10PL-Ih-3
various art movements
CONTENT PERFORMANCE
STANDARDS STANDARDS
MODERN ART 1. art elements and 1. performs/ participate 7. compare the
processes by competently in a characteristics of artworks
a. Impressionism synthesizing and presentation of a creative produced in the various A10PL-Ih-4
b. Expressionism applying prior impression art movements
c. Cubism knowledge and skills (verbal/nonverbal) from
d. Dadaism the various art movements 8. create artworks guided by
e. Surrealism 2. the arts as integral techniques and styles of
f. Abstract Realism to the development 2. recognize the difference the various art movements A10PR-Ic-e-1
g. Pop Art of organizations, and uniqueness of the art (e.g., Impasto, Encaustic,
h. Op Art spiritual belief, styles of the various art etc.)
i. Performance Art historical events, movements (techniques,
j. Happenings and Mob scientific discoveries, process, elements, and 9. describe the influence of
natural disasters/ principles of art) iconic artists belonging to A10PR-Ic-e-2
occurrences and the various art movements
I. Principles of Art other external
1. Rhythm, Movement phenomenon 10. apply different media
2. Balance techniques and processes
1. Emphasis to communicate ideas,
2. Harmony, Unity, and Variety experiences, and stories
3. Proportion showing the
A10PR-Ic-e-3
characteristics of the
II. Process: various art movements
4. Painting and/ or Drawing (e.g., the use of industrial
5. Sculpture and Assemblage materials or found objects,
6. Mounting an exhibit: Silkscreen Printing, etc.)
6.1 Concept
6.2 Content / Labels 11. evaluate works of art in
6.3 Physical layout terms of artistic concepts
A10PR-If-4
and ideas using criteria
from the various art
movements
12. show the influences of
Modern Art movements on
Philippine art forms A10PR-I-f-5
CONTENT PERFORMANCE
STANDARDS STANDARDS
13. mount exhibit using
completed artworks
A10PR-I-g-6
influenced by Modern Art
movements
GRADE 10- SECOND QUARTER
TECHNOLOGY-BASED ART The learner… The learner… 1. The learner…
I. Computer/Digital Arts new technologies that create a tech-based artwork 1. identify art elements in A10EL-IIb-1
1. Cellular Phones (photos and allow new expressions (video clips and printed media the technology-based
videos) in arts using art such as posters, menus, production arts
2. Computer-generated Images elements and processes brochures etc.) relating to a 2. identify distinct
3. Digital Photography (DLSR and selected topic from the characteristics of arts
Point-and-Shoot) different learning areas using during in the 21st century
4. Video Games available technologies, e.g., in terms of:
5. Digital Painting and Imaging food and fashion A10EL-IIa-2
2.1 production
Videos – TV & Film 2.2 functionalityrange of
audience reach
II. Principles of Art 3. identify artworks produced

6. Rhythm, Movement by technology from other
7. Balance countries and their A10EL-IIa-3
8. Emphasis adaptation by Philippine
9. Harmony, Unity, and Variety artists
Proportion
4. realize that technology is
III. Process: an effective and vibrant
10. computer manipulation tool for empowering a
11. light setting person to express his/her
ideas, goals, and A10PL-IIh-1
12. digital enhancements
13. printing advocacies, which elicits
14. digital circulation immediate action
5. determine the role or

function of artworks by A10PL-IIh-2
evaluating their utilization
CONTENT PERFORMANCE
STANDARDS STANDARDS
TECHNOLOGY-BASED ART new technologies that create a tech-based artwork elements and principles
allow new expressions (video clips and printed media 6. use artworks to derive the
I. Computer/Digital Arts in arts using art such as posters, menus, traditions/history of a
1. Cellular Phones (photos and elements and processes brochures etc.) relating to a community (e.g.,
videos) selected topic from the landscapes, images of A10PL-IIh-3
2. Computer-generated Images different learning areas using people at work and play,
3. Digital Photography (DLSR and available technologies, e.g., portrait studies, etc.)
Point-and-Shoot) food and fashion
4. Video Games 7. compare the
5. Digital Painting and Imaging characteristics of artworks
A10PL-IIh-4
Videos – TV & Film in the21st century
8. create artworks that can

II. Principles of Art be locally assembled with
6. Rhythm, Movement local materials, guided by A10PR-IIc-e-1
7. Balance 21st-centurytechniques
8. Emphasis
9. Harmony, Unity, and Variety 9. describe the influence of
Proportion technology in the 21st
A10PR-IIc-e-2
centuryon the evolution of
III. Process: various forms of art
10. computer manipulation
11. light setting 10. apply different media
12. digital enhancements techniques and processes
13. printing to communicate ideas,
14. digital circulation experiences, and stories
showing the
A10PR-IIb-e-3
characteristics of 21st-
centuryart (e.g., the use
of graphic software like
Photoshop, InDesign, etc.)
11. evaluate works of art in

terms of artistic concepts A10PR-IIf-4
and ideas using criteria
CONTENT PERFORMANCE
STANDARDS STANDARDS
appropriate for the style
or form
12. mount an exhibit of
completed technology- A10PR-II-g-5
based artworks
GRADE 10- THIRD QUARTER
MEDIA-BASED ARTS AND The learner… The learner… The learner...
DESIGN IN THE PHILIPPINES
1. art elements and create artworks using 1. identify art elements in A10EL-IIIb-1
I. Photography processes by available media and natural the various media-based
1. George Tapan synthesizing and resources on local topics, arts in the Philippines
2. John Chua applying prior issues, and concerns such as
knowledge and skills environmental advocacies 2. identify representative
II. Film ecotourism, and economic artists as well as distinct
1. Brillante Mendoza 2. new technologies and livelihood projects characteristics of media- A10EL-IIIa-2
2. Maryo J. de los Reyes that allow new based arts and design in
3. Laurice Guillen expressions in the the Philippines
arts 3. realize that Filipino
III. Animation ingenuity is distinct,
4. Animation Council of the exceptional, and on a par A10PL-IIIh-1
Philippines with global standards
5. Philippine Animation Studio
Inc. 4. determine the role or
function of artworks by
IV. Print Media evaluating their utilization
6. Advertisements A10PL-IIIh-2
7. Comic books elements and principles
V. Digital Media 5. use artworks to derive the

8. Webpage Design traditions/history of a A10PL-IIIh-3
9. Game Development community
VI. Innovations in Product & 6. create artworks that can

1. art elements and create artworks using be assembled with local A10PR-IIIc-e-1
Industrial Design processes by available media and natural materials
synthesizing and resources on local topics,
CONTENT PERFORMANCE
STANDARDS STANDARDS
10. Kenneth Cobonpue, Monique applying prior issues, and concerns such as 7. describe the
Lhuillier, Josie Natori, Lulu knowledge and skills environmental advocacies characteristics of media-
A10PR-IIIc-e-2
Tan Gan, Ditas Sandico-Ong, ecotourism, and economic based arts and design in
Rajo Laurel, Aze Ong 2. new technologies and livelihood projects the Philippines
that allow new
expressions in the 8. apply different media
VII. Principles of Art arts techniques and processes
11. Rhythm, Movement to communicate ideas,
12. Balance experiences, and stories
A10PR-IIIc-e-3
13. Emphasis (the use of software to
14. Harmony, Unity, and enhance/animate images
VarietyProportion like Flash, Movie Maker,
Dreamweaver, etc.)
VIII. Process:
15. painting 9. evaluate works of art in
16. drawing terms of artistic concepts
17. constructing and ideas using criteria
18. assembling appropriate for the style A10PR-IIIf-4
19. printing or form of media-based
20. carving arts and design
10. mount a media-based

exhibit of completed
A10PR-IIIg-5
artworks
GRADE 10- FOURTHQUARTER

ORIGINAL PERFORMANCE WITH The learner… The learner… The learner…
THE USE OF MEDIA
1. how theatrical 1. create appropriate 1. explains how an idea or
I. Philippine Theater Groups elements (sound, costumes, props, set theme is communicated in
1. PETA music, gesture, accessories, costumes a selected performance
2. Repertory Philippines movement, and improvised lighting and through the integration of A10EL-IVb-4
3. Trumpets costume) affect the other décor for Philippine musical sounds, songs,
4. Tanghalang Pilipino creation and plays dialogue and dance
5. New Voice Company communication of
CONTENT PERFORMANCE
STANDARDS STANDARDS
6. Atlantis Productions meaning in a theater 2. create/improvise 2. analyzes examples of
play/performance appropriate sound, music, plays based on theatrical
II. Local Performing Groups incorporated with gesture, and movements forms, and elements of art A10EL-IVa-2
III. Roles in a production media for a chosen theatrical as applied to performance
7. director composition
8. actor 2. theater and 3. illustrate how the different
9. choreographer performance as a 3. participate in an original elements are used to
A10EL-IVc-3
10. stage manager synthesis of arts performance inspired by communicate the meaning
11. light designer local Philippine stories,
12. set designer myths, and events relevant 4. define the uniqueness of
to current issues each original performance A10PL-IVh-1
IV. Elements of Art as Applied to
an Original Performance: 5. design with a group the
13. Sound & Music visual components of a
14. Gesture, Movement, and A10PR-IVe-1
school play (stage design,
Dance costume, props, etc.)
15. Costume, Mask, Makeup, and 6. assume the role of a
Accessories character as an
16. Spectacle actor/performance, or
A10PR-IVh-2
production staff (director,
V. Principles of Art choreography, light
17. Rhythm, Movement designer, stage manager)
18. Balance 7. analyze the uniqueness of
19. Emphasis the group that was given
20. Harmony, Unity, and Variety recognition for its
21. Proportion A10PR-IVh-3
performance and explain
what component
VI. Process contributed to its selection
22. Designing for stage, costume, 8. contribute to the
and props of a selected conceptualization of an
theatrical play A10PR-IVd-4
original performance
23. Choreographing movement
patterns and figures 9. choreograph the
movements and gestures
A10PR-IVf-g-5
needed in the effective
delivery of an original
CONTENT PERFORMANCE
STANDARDS STANDARDS
performance with the use
of media
10. improvise accompanying
sound and rhythm needed
in the effective delivery of A10PR-IVf-g-6
an original performance
with the use of different
media
CODE BOOK LEGEND
Sample: A10PR-If-4
LEGEND SAMPLE DOMAIN/ COMPONENT CODE
Learning Area and

Strand/ Subject or Art Elements EL
Specialization
First Entry A10
Grade Level Grade 10

Principles PL
Domain/Content/
Uppercase Letter/s Process PR
Component/ Topic
Processes PR
-
Roman Numeral
Quarter First Quarter I
*Zero if no specific quarter
Lowercase Letter/s
*Put a hyphen (-) in between
Week Week six f
letters to indicate more than a
specific week
-
Evaluate works of art in
terms of artistic concepts
Arabic Number Competency and ideas using criteria 4
from the various art
movements
Quarter I: Music of the 20th Century
Quarter I
CONTENT STANDARDS
The learner demonstrates understanding of...

1. The 20th century music styles and characteristic features.
PERFORMANCE STANDARDS
The learner...
1. Creates musical pieces using a particular style of the 20th century.
LEARNING COMPETENCIES
The learner...
1. Listens perceptively to selected 20th century music.
2. Describes distinctive musical elements of given pieces in 20th
century styles.
3. Relates 20th century music to its historical and cultural
background.
4. Explains the performance practice (setting, composition, role of
composers/performers, and audience) of 20th century music.
5. Sings melodic fragments of given Impressionism period pieces.
6. Explores other arts and media that portray 20th century elements
through video films or live performances.
7. Creates short electronic and chance music pieces using knowledge
of 20th century styles.
From the Department of Education curriculum for MUSIC Grade 10 (2014)
MUSIC Teacher’s Guide
QUARTER I
Sessions 1, 2, 3, 4, and 5
IMPRESSIONISM TO MODERN NATIONALISM
I. SUBJECT MATTER
A. Topic: 20th Century Musical Styles:

Impressionism to Modern Nationalism
Sub-topics: Impressionism
Expressionism
Neo-Classicism
Avant-Garde
Modern Nationalism
Composers (Debussy, Ravel, Schoenberg, Bartok, Stravinsky,

Prokofieff, Poulenc, Stockhausen, Glass, Cage, Bernstein,
Varese, and Gershwin)
B. Materials: DVD/CD recordings, video clips, or recordings from YouTube/

internet of Impressionistic, Expressionistic, Neo-Classicist,
Avant Garde, and Modern Nationalistic music
CD/VCD/DVD/Karaoke players, computers, laptops,

netbooks, tablets, i pads, mobile phones, MP3/MP4 players
Visual arts pictures of Impressionistic, Expressionistic,

and Modern Nationalistic paintings
Charts of music scores
C. Reference: Music Grade 10 LM - Pages 3-24
II. LESSON PROPER
A. PRELIMINARY ACTIVITY
1. Review: Concepts on previous lessons on Romantic Music.
2. Motivation
a. Display pictures or posters of the paintings of impressionist painter

Claude Monet, expressionist Jose Joya, and post-impressionist Van
Gogh on the wall or board of the classroom. Let the students go
around to view the pictures.
b. Display and discuss pictures on action painting by Jackson Pollock.
c. On a piece of pad paper, have the students describe each of the
pictures in their own words (5 minutes). Collect their works.
d. Call some volunteer students to read their descriptions or
observations. Connect these to the new lesson.
B. DEVELOPMENTAL ACTIVITY
1. Have the students listen to CD recordings or watch video clips from

YouTube on Impressionist, Expressionist, Neo-Classicist, Avant-Garde,
and Modern Nationalist music, while looking at the pictures of the
paintings.
2. Ask them to analyze the characteristics and styles of each through

discussion and sharing of insights.
3. Let them compare the paintings with their counterpart in music, in terms
of the elements and characteristics of each.
4. Ask them to share their impressions, experiences, thoughts, and feelings

after listening to the music and discussing all these.
C. INTEGRATION
1. Integration of Music with Arts, Literature, and History through the use
of paintings and music recordings.
2. Role playing - Call on volunteer students to depict the socio-historical

context of one of the musical movements studied, Modern Nationalism,
which incorporated folk songs and indigenous music.
Infusion of values: Belief in the power of the mind and its ability to achieve
one’s goals and control situations.
D. GENERALIZATION
The 20th century styles of impressionism and expressionism provided

composers with the opportunity to express their thoughts based on outside
impressions as well as ideas and expressions based on their inner convictions.
Other forms that emanated included neo-classicism, which is a return to the

classical form and structure using modern harmonies and techniques of
composition; avant garde, which deals with the parameters of sound in
space; and Modern Nationalism, which is a combination of nationalist
thematic materials with the modern techniques of composition.
III. WHAT TO KNOW
Let the students answer the following:
1. What group of people inspired many of Bartok’s compositions?
2. Which Russian composer created the music for the ballet The Firebird?
3. Who is considered the foremost impressionist?
4. What kind of musical style is attributed to Schoenberg and Stravinsky?
5. Who was the target audience of Prokofieff’s Peter and the Wolf?
6. Give an example of a musical work of each of the composers below.

Write the title in the blanks.
Composer Musical Work

Debussy _____________________________________
Ravel _____________________________________
Schoenberg _____________________________________
Stravinsky _____________________________________
Bartok _____________________________________
Prokofieff _____________________________________
Poulenc _____________________________________
Gershwin _____________________________________
Glass _____________________________________
Bernstein _____________________________________
IV. WHAT TO PROCESS
Listening Activity: Works of 20th Century Composers
1. You will play excerpts of any (one) of the following musical examples:
Debussy – Claire de Lune, La Mer, Children’s Corner Suite

Ravel – Miroirs, Sonatine, Daphnis et Chloe, Jeux d’Eau, Bolero
Schoenberg – Verklarte Nacht, Violin Concerto, Piano Concerto,
Gurrelieder
Bartok – String Quartet no. 4, Allegro, Mikrokosmos, Barbaro,
Music for Strings
Stravinsky – The Rite of Spring, Petrouchka, The Firebird Suite
Prokofieff – Romeo and Juliet (ballet), Piano Sonatas
Gershwin – An American in Paris, Porgy and Bess, Rhapsody in
Blue, Someone to Watch Over Me
Bernstein – Tonight from West Side Story, Clarinet Sonata
Glass – Einstein on the Beach, Satyagraha, Akhnaten
Poulenc – Concerto for Two Pianos, Dialogues des Carmelites
2. Let the students listen carefully to each excerpt and be able to recognize the
distinct musical style of each composer.
3. Let them choose a composition that they like. Let them write a short reaction
paper on it.2. Listen carefully to each excerpt and be able to recognize the
distinct musical style of each composer.
4. Based on this activity, let the students write a brief profile of the composer
of the pieces played in a bond paper to be submitted the following meeting.
V. WHAT TO UNDERSTAND
A. Name the Composer, Title of the Music, Musical Style, and Description
1. After the Listening Activity, you will prepare selected excerpts of

compositions by Debussy, Ravel, Schoenberg, Bartok, Stravinsky,
Prokofieff, Poulenc, Glass, Bernstein, and Gershwin.
2. Divided into four teams, with each team forming a line.
3. As you play a few measures of the first excerpt, let the first student in
each line goes to the board and writes the name of the composer. The
second student will write the title of the music. The third student will
write the musical style. Then, the fourth student will write a description
of the music in one phrase.
4. The team that writes the correct answers first, scores four (4) points.
5. The same procedure goes on until all the students in the line have had
their turn.
6. Assign one student to tally the scores and announce the winners. The
team with the highest score is the winner. In case of a tie, the first team
to finish is the winner.
7. After proclaiming the winners, the scorer will ask this question: What
was the most significant thing that you have learned from this activity?
VI. WHAT TO PERFORM
A. Performance Activity 1:
Video Clips / Watching Live /TV Performances
Video Clips
1. Divide the class into four groups by having them count off from 1 to 4.
2. Have the students create and explore other arts (multi-media) that portray
20th century musical styles (impressionism, expressionism, jazz, avant
garde) through a 10-minute video clip or MTV using their digital cameras
or mobile phones.
3. Let them show and discuss their video works in class.
Watching Live / TV Performances
1. Divide the class into groups. Assign groups who will re-enact what
they watched. Assign other groups to do the video recording.
2. Have the students watch live performances of musical concerts, if

available in their area, or let them watch live concerts recorded on TV
or the internet (YouTube).
3. Let them re-enact in class what they have watched.
4. Let the groups assign members to make a 10-minute audio video

presentation, while the other members re-enact what they have seen on
live concerts and on TV and internet.
5. Have the groups show and discuss their video works in class.
B. Performance Activity 2:
Singing or Humming Musical Fragments
1. Play several musical excerpts of selected 20th century composers. and

briefly discuss the title, composer, and musical style of each.
2. Let the class listen carefully to each excerpt and be able to recognize
the distinct musical style of each composer.
3. Have the students sing or hum some melodic fragments (portion only)
of any of the following excerpts of 20th century music, together with
the recordings:
a. Claude Debussy’s Claire de Lune
b. Leonard Bernstein’s West Side Story
c. George Gershwin’s Rhapsody in Blue
d. Ravel’s Bolero
e. Any work of minimalist composers, Philip Glass or Meredith Monk
f. Any work of nationalist composers, Erik Satie or Bela Bartok.
4. Based on the melodic fragments of the excerpts that they sang or

hummed, they should be able to aurally identify the different selected
works of the composers of the 20th century by naming the title and
composer in a random short quiz (5 points).
5. Have the students choose a composition that they like. Ask them to
write a brief profile about the composer, and to also give their personal
reactions about the music on a one whole sheet of bond paper.
6. Let them submit it in class the next meeting.
Evaluation Activity: “Drawing Lots”
1. After the above singing or humming activity, prepare a box containing

slips of paper with the names of Debussy, Ravel, Gershwin, Bernstein,
Glass, Monk, Satie, and Bartok written on them.
2. Divide the class into four groups. Each group will choose four
representatives who will be assigned as contestants.
3. Each contestant will draw a composer’s name from the box and must
say three sentences about his compositional technique or musical style,
his major contribution to modern music, and one work that shows his
compositional style.
4. The rest of the groups will evaluate each contestant’s answer by flashing
a card or paper marked “CORRECT” or “WRONG.” Each correct
answer earns a point.
5. The group with the highest number of points wins the contest.
C. Performance Activity 3: Film Showing or Video Watching
1. Have the students research on the 20th century musical play West Side
Story written by Leonard Bernstein.
2. Instruct them to watch any video clip of West Side Story on the internet
or YouTube.
3. Let them write a reaction paper explaining the following elements of

the performance:
a. Setting
b. Musical compositions
c. Role of composer and lyricist
d. Role of performers (actors, actresses)
e. Role of the audience (students)
f. Sound and musical direction
g. Script / screenplay
h. Props, costumes, lighting
4. Divide the class into groups. Ask them these questions: Did you like
what you watched? Why or why not?
5. Have them explain their answers on a one whole sheet of bond paper.
Let each group report their answers in class.
D. Performance Activity 4:
Singing Songs from West Side Story
1. The students may opt to do this as an individual or group activity. Groups

will be divided into four.
2. Let the students listen to the songs Tonight, Maria, Somewhere, and
America from video or recordings of West Side Story. Ask them to draw
lots for the song to sing.
3. Have them sing and perform their song in class, with or without
accompaniment. They may also sing with the recordings.
4. Let those students who are not performing act as judges for the
performance evaluation.
5. Judges will have five placards, score cards, or paper sheets marked:
BEST, BETTER, GOOD, FAIR, NEEDS FOLLOW UP.
6. Judges will display a score card after evaluating the performance.
7. One student may be assigned to tabulate the scores after the performance.
8. Select and announce the “Best Performance” award.
E. Performance Activity 5:
Live Concert or Recording or Music Video
Let the students choose the activity that they are interested in.
1. Class Concert – Live Performance

a. Group the students into four. The first two groups will do the class
concert.
b. Have the group leader assign each member to do any of the following:
singing, dancing, choreography, musical directing, playing an
instrument (either as accompaniment to the song or dance, or a solo
performance or as a band). They may use props and costumes, if
needed.
c. Let the groups perform in class their own original interpretation of
the songs from West Side Story.
2. Recording or Music Video: Individual or Group Activity

a. Have the remaining two groups choose their members.
b. Let them record the performance of their classmates using a cassette
recorder, or make a music video using a cellular phone, digital
camera, or video camera.
c. Have them play the recorded performance or show the music video
to their classmates. The groups in the video or recording will choose
the “Best Performers.”
d. You will also rate the students’ performance based on the criteria
below.
e. Choose the “Best Video Presentation” based on creativity (50%)
and presentation (50%).
Evaluation of Performing Activities
Rating scale: 5 = Very Good 2 = Poor

4 = Good 1 = Needs Follow-up
3 = Fair
Rate scores are based on your performance quality.
1. How well did I perform the songs from West

Side Story? ____________
2 How well can I identify the different musical genres

based on instrumentation, text, and purpose? ____________
3. How well can I describe the characteristics of each

through listening to their melody, harmony, rhythm,
text, and mass appeal? ____________
4. How well did I participate in the performance of

the different activities? ____________
Teacher’s Rating of the Students’ Performance
1. Musicianship (60%)
a. compositional concepts presented ____________
b. musical elements ____________
c. technique ____________
2. Ensemble coordination (20%) ____________
3. Ensemble organization (20%) ____________
10
VII. EVALUATION
1. What are the styles of 20th century classical music studied in this lesson?
2. Explain briefly how these styles have counterparts in the visual arts,
particularly in painting.
VIII. ENRICHMENT ACTIVITIES / ASSIGNMENT
A. Let the students answer the following:
1. Which of the styles that you studied do you like best?
2. Explain your answer in essay form.
B. Encourage the students to search for the following video on YouTube and
to view it for additional inights on 20th century music:
Young People’s Concert: What is Impressionism

by Leonard Bernstein
They may also search for Bernstein’s other video lectures on music.
11
QUARTER I
Sessions 6, 7, and 8
20TH CENTURY MUSICAL STYLES:
ELECTRONIC AND CHANCE MUSIC
I. SUBJECT MATTER
A. Topic: 20th Century Musical Styles: Electronic and Chance Music
Sub-topics : Electronic Music

Chance Music
Composers (Cage, Stockhausen, Varese)
B. Materials : DVD / CD recordings /video clips/ recordings from YouTube

or the internet of Electronic and Chance Music

Pictures, slides, video clips of musical gadgets used

especially in Electronic Music
Sound makers like stones, rice, radios, horns, and

kitchen utensils
C. Reference: Music Grade 10 LM. Pages 25-30
II. LESSON PROPER
1. Review: Let the students go over the concepts they have learned about
Impressionism, Expressionism, Modern Nationalism, Neo-Classicism
and Avant-Garde Music.
2. Motivation:
a. Hold a “Chance Music Experience.” Ask one student to simulate a
performance concert sitting in front of the piano, keyboard, singing
with a microphone, just holding a guitar, or holding any other musical
instrument for 3 minutes without playing these.
12
b. Discuss the performance and get reactions and observations from

the class. What did they think? hear? see? feel? touch? smell?
c. Use the experience as a bridge to the topic of the lesson.
1. Let the students listen attentively to CD recordings of Electronic and

Chance Music.
2. Ask them to define/describe each of the two musical styles introduced
in the recordings they listened to.
3. Discuss the history, characteristics, and operations of the two kinds of
musical styles.
4. Have the students experiment with sounds on materials they had brought
to class to create Chance Music. Divide the class into four or five groups,
each with a written plan of what to accomplish.
5. Perform this experiment with a live concert of the two musical styles in
the classroom.
6. Use new electronic equipment (if available) to listen to different sounds
from the instruments (Example: synthesizer, cassette tape recorder, DVD
player, karaoke, and others that you may think of).
C. INTEGRATION
1. Integrate the use of electronic equipment, if available, and other materials

that can produce sound as well as the use of modern technology gadgets
in Music with lessons in Physics, Vocational Education, and Technology
and Livelihood Education (TLE).
2. Show a picture of an action painting by Jackson Pollock and compare it

with chance music.
Infusion of values: Appreciation of the beauty of nature and the realization

of their contribution to the environment.
D. GENERALIZATION
The modern musical tradition experimented with new sounds in classical

music through such styles as Electronic Music and Chance Music. Through
this experimentation, the novelty of sounds emanating from sources other
than the traditional musical instruments played a major role in the
compositions being created.
13
III. WHAT TO KNOW
Have the students answer thed following:
1. Who was the French composer known as the “Father of Electronic Music?
2. What are some of the new musical approaches of Cage?
3. What is meant by musique concrete used by Stockhausen?
4. Give an example of a musical work by Varese, Stockhausen, and Cage.

Write your answers on the blanks below.
Composer Musical Work
Varese ___________________________
Stockhausen ___________________________
Cage ___________________________
IV. WHAT TO PROCESS
Listening Activity: Works of 20th Century Composers
1. Play excerpts of any (one) of the following musical examples:
Cage – 4’33"; Metamorphosis, for piano; Five Songs,

for contralto soloist and piano; Music for Wind
Instruments, for wind quintet
Stockhausen – Etude, Electronic STUDIES I and II, Gesang der

Junglinge, Kontakte, Momente, Hymnen
Varese – Hyperprism for wind and percussion,

Octandre for seven wind instruments and double bass,
Intégrales for wind and percussion,
Ionisation for 13 percussion players
2. Have the students listen carefully to each excerpt and be able to recognize
the distinct musical style of each composer.
3. Let them choose a composition that they like, and then write a short reaction
paper on the composition and the profile of the composer.
14
4. Have them submit this on one whole sheet of bond paper during the next
meeting. At random, choose students to read their reactions in class.
Name the Composer, Title of the Music, Musical Style, and Description
1. After the Listening Activity, prepare selected excerpts of compositions by

Stockhausen, Cage, and Varese.
2. Divide the class into four teams, with each team forming a line.
3. As you play a few measures of the first excerpt, have the first student in
each line goes to the board and writes the name of the composer. The second
student will write the title of the music. The third student will write the
musical style. Then, the fourth student will write a description of the music
in one phrase.
5. The same procedure goes on until all the students in the line have had their
turn.
6. Assign one student to be the scorer. The team with the highest score is
the winner. In case of a tie, the first team to finish is the winner.
7. The scorer will announce the winners and then ask them this question:
What was the most significant thing that you have learned from this activity?
VI. WHAT TO PERFORM
A. Activity 1:
Experimentation with the Sounds of 20th Century Music Systems
Let the students do the following activity:
1. Chance Music – Put small items inside a bag. Include coins, pens, pins,
small bells, and other articles with percussive sounds. Pour the bag’s
contents on a hard surface. Then, using a cellphone or other available
device, record the sounds that are produced.
15
Put the items back in the bag. Then unload the same, while once again
recording the sounds being produced. Note the changes between the
two sets of sounds recorded.
2. Electronic Music – Create short electronic music pieces using your

knowledge of 20th century musical styles.
B. Performance Activity 2:
Original Chance and Electronic Music
Have the students do the following:
Rate scores are based on the elements of music such as rhythm, melodic
appeal, harmony and texture, tempo and dynamics, timbre, and overall
musical structure
BEST, BETTER, GOOD, FAIR, NEEDS FOLLOW UP.

.
1. The class will be divided into four groups.
2. Each group will create an original five-minute performance of Chance

Music and Electronic Music (if available) to be performed in class.
3. Those who are not performing will act as judges for the performance
evaluation.
4. Judges will have five placards, score cards, or paper sheets marked:
BEST, BETTER, GOOD, FAIR, NEEDS FOLLOW UP. They will
display these score card after evaluating each performance.
5. One student may be assigned to tabulate the scores after the performance.
6. Announce the “Best Performance” award.
7. Have the students answer this question: What was the role of the
audience in the performance of Chance Music? Explain your answers.
C. Performance Activity 3: Group Activity
Video Clips
1. Divide the class into four groups by counting off from 1 to 4.
16
2. Let each group create and explore other arts (multimedia) that portray
20th century musical styles (Chance and Electronic Music) through a
10-minute video or MTV using their digital cameras or mobile phones.
3. They may use the internet as reference for their video clips.
4. Let them show and discuss their video works in class.
Watching Live / TV Performances
1. Ask the students to watch live performances of musical concerts on

Chance and Electronic Music, if available in their area; or to watch live
concerts recorded on TV or the internet.
2. Let the group leaders choose two or three of their members as

videographers for each group. Have them record and make a 10-minute
audio video presentation, while the other group members re-enact what
they have seen on live concerts and on TV.
3. Have them show and discuss their video works in class.
4. Choose the “Best Video Award” using the criteria: Creativity (50%)
and Presentation (50%).
Evaluation Activity: “Drawing Lots”
1. After the different performing activities, prepare a box containing slips of

paper with the names of Cage, Stockhausen, and Varese.
2. Divide the class into four groups. Let each group choose four representatives
who will be assigned as contestants.
3. Let each contestant draw out a composer’s name from the box and say
three sentences about his compositional technique or musical style, his major
contribution to modern music, and one work that shows his compositional
style.
4. Let the rest of the groups evaluate each contestant’s answer by flashing a
card or paper marked “CORRECT” or “WRONG.” Each correct answer
earns a point.
5. The group with the highest number of points wins the contest.
17
Have the students rate themselves based on their performance quality.

3 = Fair
1. How well did I perform chance and electronic music? ____________

based on instrumentation, text, and purpose? ___________

through listening to their melody, harmony, rhythm,
text, and mass appeal? ____________
4. How well did I participate in the performance of

the different activities? ____________
Teacher’s Rating of the Students’ Performance
1. Musicianship (60%)
a. compositional concepts presented ____________
b. musical elements ____________
c. technique ____________
2. Ensemble coordination (20%) ____________
3. Ensemble organization (20%) ____________
VIII. ENRICHMENT ACTIVITY / ASSIGNMENT
Have the students view this video which is available on the BBC and YouTube
websites:
BBC’s The Story of Music: Age of Rebellion and The Popular Age
by Howard Goodall
18
Quarter II: Afro-Latin American and Popular Music
Quarter II
AFRO-LATIN AMERICAN
AND POPULAR MUSIC
CONTENT STANDARDS

1. Characteristic features of Afro-Latin American music and Popular
music.
The learner...
1. Performs vocal and dance forms of Afro-Latin American music and
selections of Popular music.
The learner...
1. Observes dance styles, instruments, and rhythms of Afro Latin
American and popular music through video, movies and live
performances.
2. Describes the historical and cultural background of Afro-Latin
American and popular music.
3. Listens perceptively to Afro-Latin American and popular music.
4. Dances to different selected styles of Afro-Latin American and popular
music.
5. Analyzes musical characteristics of Afro-Latin American and popular
music.
6. Sings selections of Afro-Latin American and popular music in
appropriate pitch, rhythm, style, and expression.
7. Explores ways of creating sounds on a variety of sources suitable to
chosen vocal and instrumental selections.
8. Improvises simple vocal/instrumental accompaniments to selected
songs.
9. Choreographs a chosen dance music.
10. Evaluates music and music performances using knowledge of musical
elements and style.
19
QUARTER II
AFRO-LATIN AMERICAN AND POPULAR MUSIC
Sessions 1, 2, 3, 4, and 5
AFRICAN MUSIC AND LATIN AMERICAN MUSIC
I. SUBJECT MATTER
A. Topic: African Music and Latin American Music
Sub-topics: African Music

1. Historical and cultural background
2. Musical instruments
3. Rhythms: Maracatu
4. Vocal forms: Blues, soul, spiritual, call and response
Latin American Music

1. Historical and cultural background
2. Musical instruments
3. Vocal and dance forms: Cumbia, tango, cha-cha,
rumba, bossanova, reggae, foxtrot, paso doble
B. Materials: DVD/CD recordings, video clips, and internet recordings

of African and Latin American Music

Photographs of Africa and Latin American culture and art,

and African and Latin American musical instruments
C. Reference: Music Grade 10 LM pages 38 - 64
II. LESSON PROPER
1. Review: Concepts of Music of the 20th Century
2. Motivation
a. Show video/film clips or any recording from YouTube of excerpts
of African and Latin American Music.
20
Example: Lion King for African Music; Rio for Latin American Music
b. Play selected recordings of African and Latin American music.
Examples: folk songs, instrumental music.
c. Let the students listen to the music or watch the vido clips. On a
piece of pad paper, let them describe the music that they listened to
or watched in their own words. (5 minutes).
d. Call some volunteer students to read their descriptions or
observations. Connect these to the new lesson.
1. Ask the students to listen to CD/DVD recordings or watch MTVs from

YouTube of African and Latin American music.
2. Have them analyze the characteristics and styles of each through

discussion and sharing of insights.
3. Group Discussion: Let the students compare their insights with their
classmates in terms of the elements and characteristics of each.
4. Have them share impressions, experiences, thoughts, and feelings after

listening to the music and discussing all these.
C. INTEGRATION
Integration of Music with Arts, Literature, and History through the use of
music recordings and video clips.
Infusion of values: Belief in the power of the mind and its ability to achieve
one’s goals and creativity.
D. GENERALIZATION
Music has always been an important part in the daily life of the African,
whether for work, religion, ceremonies, or even communication. Singing,
dancing, hand clapping and the beating of drums are essential to many African
ceremonies, including those for birth, death, initiation, marriage, and funerals.
Music and dance are also important to religious expression and political
events in Africa.
21
The music of Latin America is the product of three major influences –

Indigenous, Spanish-Portuguese, and African. Sometimes called Latin music,
it includes the countries that have had a colonial history from Spain and
Portugal.
III. WHAT TO KNOW
1. What are the classifications of African music?
2. What are the characteristics of each classification of African music?
3. Name some African musical instruments under the following categories:

a. idiophones
b. chordophones
c. membranophones
d. aerophones
4. Describe how African musical instruments are sourced from the environment.
Give examples.
5. What are the different vocal and dance forms of Latin American music?
6. What are the characteristics of each vocal and dance form of Latin American
music?
7. Which type of music was popularized by Bob Marley?
8. Which type of music was popularized by Antonio Carlos Jobim?
9. Who is known as the “Philippines’ Queen of Bossa Nova”?
IV. WHAT TO PROCESS
Class Activity
1. Play one recording of African and Latin American music.
2. Have the students participate in a class discussion on the distinctive features

and qualities of each musical genre and style.
22
Activity 1: Making Improvised African and Latin American Instruments

Individual or Group Activity
1. Ask the students to make improvised African and Latin American musical
instruments using dried vegetables, animal hide, wood, strips of roofing
metal, tin cans, bamboo, and other materials from the environment.
2. Have them create a rhythmic or harmonic accompaniment for any African

and Latin American songs that they know using these improvised African
and Latin American instruments. Let them use the internet for reference.
3. Have them answer: “How did you relate in making improvised African and
Latin American musical instruments found in the environment?”
Activity 2: Choreography to Express the Music

1. Have the students conceptualize a choreography to show some dance steps

set to African and Latin American music.
2. Let them answer: “How does it feel to conceptualize the dance movements
in each music category?”
VI. WHAT TO PERFORM
Group Activities
1. Class Singing Concert – live performance
a. Divide the class into four groups. Ask each group to draw lots to sing a
song from one of the following musical genres:
For African Music - Kumbaya, Waka Waka, or Mbube

For Latin-American music - One Note Samba; We are One (Ole Ola)
the official song of the 2014 FIFA World Cup held in Brazil, written and
co-produced by Pitbull and featuring Jennifer Lopez and Brazilian star
Claudia Leitte. Let them research the lyrics and music.
b. Let the students decide among their group members which of them will
sing, plan the choreography or movements to accompany the song, play
23
a musical instrument, and record the group’s performance on video.
c. Ask the students learn their assigned song, using the lyrics on the
following pages.
d. Have them practice it, with the choreography and accompaniment. Then,
let them perform in class.
2. Dance Interaction
a. As they performs in class, have the performers invite the other class
members to join them in the dance movements or choreography that
they have prepared. They can do a “flash mob” style of dancing.
b. Have the group leaders do an impromptu selection of the “Best Dance

Performance” among their classmates.
3. Music Video Award
a. During the class performance, let the assigned group member(s) to record
their group’s performance using a mobile phone, tablet, or video camera.
b. Have them simulate a “Music Video Award” event by joining the other
groups in presenting their respective videos in class.
c. Ask the class members choose the “Best Song Performance” based on
how well the group presented their assigned music genre.
KUM BAY YA
Kum Bay Ya is a spiritual song that was first recorded in the

1920s. It became a popular standard campfire song in Girl or Boy
Scouting and during summer camps. The song is originally a simple
petition to God to come and help those in need. This inspiring hymn
is heard in many countries of Central Africa. It has great personal
meaning and the singer often creates his own words as he works or
pray. The words “Kum Bay Ya” mean “come by here” or “stay
nearby.”
24
KUMBAYA
Kum bay ya, my Lord, kum bay ya;

Kum bay ya, my Lord, kum bay ya;
Kum bay ya, my Lord, kum bay ya
O Lord, kum bay ya.
Someone’s laughing, my Lord, kum bay ya

O Lord, kum bay ya.
Someone’s crying, my Lord, kum bay ya

O Lord, kum bay ya.
Someone’s praying, Lord, kum bay ya

O Lord, kum bay ya.
Someone’s singing, my Lord, kum bay ya

O Lord, kum bay ya.
WAKA WAKA (This Time for Africa)

FIFA World Cup 2010 Official Anthem
"Waka Waka (This Time for Africa)" or in Spanish, "Waka

Waka (Esto es África)" is a song by Colombian singer-songwriter
Shakira. It feautures South African band, Freshlyground, and
pairs an African Colombian rhythm with a Soca-inspired beat.
Its lyrics encourage one to aim for one’s goals, like a soldier on
a battlefield. The song was used as the official song of the 2010
FIFA World Cup held in South Africa.
25
WAKA WAKA
You're a good soldier You know it's serious

Choosing your battles We're getting closer
Pick yourself up This isn’t over
And dust yourself off The pressure is on
And back in the saddle You feel it
You're on the frontline But you've got it all
Everyone's watching Believe it
ONE NOTE SAMBA
Samba de Uma Nota Só ("One-Note Samba") is a song com-

posed by Antonio Carlos Jobim, with Portuguese lyrics by New-
ton Mendonça and English lyrics by Jobim. The song title refers
to the main melody line, which at first consists of a long series of
notes of a single tone.
This is just a little samba

Built upon a single note
Other notes are bound to follow
But the root is still that note
Now this new note is the consequence

Of the one we've just been through
As I'm bound to be
The unavoidable consequence of you
There's so many people

Who can talk and talk, and talk
And just say nothing
Or nearly nothing
I have used up all the scale

I know and at the end
I've come to nothing
I mean nothing
26
So I come back to my first note

As I come back to you
I will pour into that one note
All the love I feel for you
Any one who wants the whole show

Re mi fa so la ci do
He will find himself with no show
Better play the note you know
So I come back to my first note

I must come back to you
I will pour into that one note
All the love I feel for you
Any one who wants the whole show

Re mi fa so la ci do
He will find himself with no show
Better play the note you know
Rating scale:
5 = Very Good 2 = Poor
3 = Fair
Ask the students to answer the following:
Rate scores are based on the groups’ performance quality.
1. How well did our group perform our assigned music?

a. African music _______________
b. Latin American music _______________

based on instrumentation, melody, rhythm, text,
timbre, harmony, and purpose? _______________
27
3. How well can I describe the characteristics of

each genre as I listened to the melody,
harmony, rhythm, and lyrics? _______________
4. How well did our group perform the different

dance moves for our assigned song? _______________
5. How well can I (individually) sing the following

musical genres?
a. African music _______________
b. Latin American music _______________
Teacher’s Rating of the Performance
1. Musicianship (60%) _______________

(musical elements, technique)
2. Presentation impact and showmanship (20%) _______________
3. Ensemble coordination and organization (20%) _______________
VII. EVALUATION
Have the students choose a new favorite musical genre. On a one fourth (1/4)
sheet of pad paper, have them describe the character and classification of African
and Latin American music and tell which is their favorite, and why.
VIII. ENRICHMENT / ASSIGNMENT
1. Mini Concert: Divide the class into two groups. Assign African music to
one group, and Latin American music to the other group. Have them prepare
for a mini concert of their assigned genre in the next meeting.
2. Research Work: Ask them to research or read on jazz, popular music, and
OPM and write their personal impression about each genre. Let them submit
it next meeting.
3. Video Analysis: Ask the students to watch the animated movies Lion King
by Disney and Rio by Blue Sky Studios on the internet. Have them write a
reaction paper regarding the musical forms and styles incorporated in these
movies.
28
QUARTER II
AFRO-LATIN AMERICAN AND POPULAR MUSIC
JAZZ, POPULAR MUSIC, AND
ORIGINAL PILIPINO MUSIC
I. SUBJECT MATTER
A. Topic: Jazz
Popular Music
Original Pilipino Music (OPM)
Sub-topics: Jazz – ragtime, big band, bebop, jazz rock

Popular Music – ballad, standard, rock and roll,
alternative music, disco
Original Pilipino Music (OPM)
B. Materials: DVD/CD recordings / video clips / recordings from YouTube

of Jazz Music, Popular Music, and OPM

Pictures of Jazz, Popular Music, and OPM singers,

composers, lyricists
C. Reference: Music Grade 10 LM pages 65 - 87
II. LESSON PROPER
1. Review:
a. Define and describe Afrian and Latin American music.
b. Give examples of musical instruments of Africa and Latin America.
2. Motivation:
a. Show video/film clips/MTVs or any recording from YouTube of
Frank Sinatra, Nat King Cole, The Beatles, Michael Jackson, One
Direction, The Vamps, Ed Sheeran, Taylor Swift, K pop, J pop,
Freddie Aguilar, Francis Magalona, and Eraserheads.
29
Or present in class video clips from the animated movie The Princess
and The Frog and let the students listen to the background music
which is jazz.
b. Elicit responses through individual recitations or plain imitation of

a short song melody.
1. Let the students listen to DVD/CD recordings or watch MTVs from

YouTube of pop, rock, jazz, folk, country and western, rock and roll,
hiphop, rap, and classical music.
2. Have them analyze/discuss the characteristics of each genre through

comparison of their similarities and differenes.
3. Discuss the different aspects of the history of each musical genre in

relation to Social Studies, and describe how each one is influenced by
modern culture, society, and technology.
4. Let the students identify aurally the different genres of today’s music.
5. Call on volunteers to perform two or three of these genres in class.
C. INTEGRATION
1. The lesson on Musical Genres of the 20th Century, dealing with folk and
alternative music, as well as the modern idioms of jazz, popular music,
and rock, may be integrated with Social Studies in reference to today’s
society, culture, and technology.
2. Role Playing - Call on volunteer students to depict the socio-historical

context of jazz and popular music, specifically rock and roll.
Infusion of values: Ability to adapt to different situations in life and open-

mindedness to new ideas.
D. GENERALIZATION
The emergence of 20th century musical genres is a reflection of modern

life, balancing the traditional norms of society with the advances in science
30
and technology. Other than the genres that evolved from the traditionally
classical styles, the new musical forms that developed included Country
and Western, Jazz, Rock and Roll, Rock, and Alternative Music.
III. WHAT TO KNOW
Ask the students to answer the following:
1. How did the different forms of popular music reflect life in the 20th century?
2. Differentiate the characteristics of Philippine pop, rock, and rap music.
3. What role did media like radio, television, and recordings play in the
development of these different musical genres?
4. Describe the “Manila Sound” in Philippine pop music.
5. Name some well-known OPM performers.
IV. WHAT TO PROCESS
Class Activity: Listening
1. Play one recording of each of the following: Jazz, Popular Music (standards,
rock and roll, disco), and OPM (ballad, Pinoy rock, Pinoy rap). Instruct the
class to listen carefully to each recording.
2. Have the students participate in a class discussion on the distinctive features

and qualities of each musical genre and style.
Activity: Choreography to Express the Music

1. Ask the students to conceptualize a choreography to show some dance

steps set to Jazz, Popular (Pop) Music, and OPM.
2. After this activity, ask the students: “How does it feel to conceptualize the
dance movements in each music category?”
31
VI. WHAT TO PERFORM
Group Activities
1. Class Singing Concert – live performance
a. Divide the class into four groups.
b. Each group will be asked to draw lots to sing a song from one of the
following musical genres:
For Jazz - choose from Someone to Watch Over Me by Ella Fritzgerald

(lyrics provided on the next page)
or All That Jazz from the movie Chicago
For Pop and OPM - choose your own song
c. Have the students decide among their group members who will do the
following:
- sing
- plan the choreography or movements to accompany the song
- play a musical instrument
- record the group’s performance on video.
d. They will then learn their assigned song, using the lyrics provided or
researched on the internet. Let them practice it, with the choreography
and accompaniment.
2. Dance Interaction
a. As they perform in class, ask the performers to invite the other class
members to join them in the dance movements or choreography that
they have prepared. They can do a “flash mob” style of dancing.
b. Assign the group leaders to do an impromptu selection of the “Best

Dance Performance” among their classmates.
3. Music Video Award
a. During the class performance, ask the assigned group member(s) to

record their group’s performance using a mobile phone, tablet, or video
camera.
32
b. Tell them to simulate a “Music Video Award” event by joining the

other groups in presenting their respective videos in class.
c. Ask the class members to choose the “Best Song Performance” based
on how well the group presented their assigned music genre.
Someone To Watch Over Me
There's a saying old, says that love is blind

Still we're often told, "Seek and ye shall find"
So I'm going to seek a certain lad I've had in mind
Looking everywhere, haven't found him yet

He's the big affair I cannot forget
Only man I ever think of with regret
I'd like to add his initial to my monogram

Tell me, where is the shepherd for this lost lamb?
There's a somebody I'm longin' to see

I hope that he, turns out to be
Someone who'll watch over me
I'm a little lamb who's lost in the wood

I know I could, always be good
To one who'll watch over me
Although he may not be the man some

Girls think of as handsome
To my heart he carries the key
Won't you tell him please to put on some speed

Follow my lead, oh, how I need
Someone to watch over me
Won't you tell him please to put on some speed

Follow my lead, oh, how I need
33
Rating scale:
5 = Very Good 2 = Poor
3 = Fair
Rate scores are based on the groups’ performance quality.
1. How well did our group perform our assigned music?

a. Jazz _______________
b. Popular Music _______________
c. OPM _______________
2. How well can I identify the different musical genres

based on instrumentation, melody, rhythm, text,
timbre, harmony, and purpose? _______________

each genre as I listened to the melody,
harmony, rhythm, and lyrics? _______________
4. How well did our group perform the different

dance moves for our assigned song? _______________
5. How well can I (individually) sing the following

musical genres?
a. African Music _______________
b. Latin American Music _______________
Teacher’s Rating of the Performance
1. Musicianship (60%) _______________

(musical elements, technique)
2. Presentation impact and showmanship (20%) _______________
3. Ensemble coordination and organization (20%) _______________
34
VII. EVALUATION
Make the students choose a new favorite musical genre. On a one fourth (1/4)
sheet of pad paper, have them describe the character and classification of this
genre and tell why it is their favorite.
VIII. ENRICHMENT / ASSIGNMENT
A. Research Work
1. Divide the class into three groups. Assign one musical genre to each
group: jazz, popular music, and OPM.
2. Have the students research further on their assigned genre and the well-
known musicians who composed/performed in this style.
3. Ask the students to briefly describe the life and works of their favorite
artists in this genre.
4. Let them submit their resarch work in the next meeting. Ask 5 students
to read their work in class.
B. Video Analysis
1. Ask the students to watch the Disney animated movie The Princess and
The Frog on the internet.
2. Have them write a reaction paper regarding the musical forms and styles
incorporated in the movie.
35
Quarter III
CONTEMPORARY PHILIPPINE MUSIC
CONTENT STANDARDS
1. Characteristic features of contemporary music.
The learner...
1. Sings contemporary songs.
The learner...
1. Listens perceptively to excerpts of major contemporary works.

2. Describes characteristics of traditional and new music.
3. Gives a brief biography of selected contemporary Philippine
composers.
4. Sings selections of contemporary music with appropriate pitch,
rhythm, style, and expression.
5. Explores ways of creating sounds on a variety of sources.
6. Improvises simple vocal/instrumental accompaniments to selected
songs.
7. Creates a musical on the life of a selected contemporary Philippine
composer.
8. Evaluates music and music performances using knowledge of musical
elements and style.
36
Quarter III: Contemporary Philippine Music
Quarter III
Sessions 1,2, and 3

TRADITIONAL COMPOSERS
I. SUBJECT MATTER
A. Topic: 20th Century Filipino Composers:

Traditional Composers
Sub Topics: Francisco Buencamino

Francisco Santiago
Nicanor Abelardo
Antonio Molina
Hilarion Rubio
Col. Antonino Buenaventura
Rodolfo Cornejo
Felipe Padilla de Leon Sr.
Lucio San Pedro
Rosendo Santos Jr.
Alfredo Buenaventura
Ryan Cayabyab
B. Materials: Pictures/slides of composers
Charts with bullet-highlights of the composers’

lives and works
Musical scores of some of the composers’

well-known compositions
DVD/CD recordings of sample works

C. Reference: Music Grade 10 Learner’s Materials

Pages 89-109
37
II. LESSON PROPER
1. Review: Recall concepts from the past lesson.

2. Motivation: As the class listens to the recordings, display on the board
pictures of each of the composers. Choose recordings from past lessons
to serve as a bridge to the new lesson. Display the chart or list of
composers from the last lesson.
1. Let the students listen to and watch presentations of the lives, musical
achievements, and works of Francisco Buencamino Sr., Francisco
Santiago, Nicanor Abelardo, Antonio Molina, Hilarion Rubio, Col.
Antonino Buenaventura, Rodolfo Cornejo, Felipe Padilla de Leon
Sr., Lucio San Pedro, Rosendo Santos Jr., Alfredo Buenaventura,
and Ryan Cayabyab.
2. Have them watch the following video clips on YouTube:

a. Larawan and Mayon Fantasy by Francisco Buencamino performed
by Cecille Licad, international concert pianist
b. Nocturne by Nicanor Abelardo performed by Raul Sunico,
international concert pianist
c. Serenata by Nicanor Abelardo performed by Renato Lucas, cello
and Raul Sunico, pianist
d. Anak Dalita by Francisco Santiago
e. Sa Ugoy ng Duyan by Lucio San Pedro performed by Lea Salonga
f. Kumukutikutitap and Kay Ganda ng ating Musika by Ryan Cayabyab
3. Let them express their a) personal reactions or feelings; and b) analysis

of the musical elements present about these composers’ works through
group discussion. Report the outcome of the group discussion in class.
C. INTEGRATION
The lesson on 20th Century Filipino Composers may be integrated with

Philippine History for a better understanding of the musical styles and their
sources of influence.
38
Infusion of values: Appreciation of our nationalist composers as major

exponents of our cultural heritage.
D. GENERALIZATION
Filipino composers of the 20th century contributed their share in introducing

innovative sounds different from the traditional folk song and kundiman
melodies that we have been accustomed to. Some espoused the
impressionistic style, while others combined ethnic sounds and musical
elements with Western techniques in their compositions.
III. WHAT TO KNOW
1. Discuss the lives and musical contributions of the following 20th century
Filipino composers:
a. Francisco Buencamino Sr. g. Rodolfo Cornejo
b. Francisco Santiago h. Felipe Padilla de Leon Sr.
c. Nicanor Abelardo i. Lucio San Pedro
d. Antonio Molina j. Rosendo Santos Jr.
e. Hilarion Rubio k. Alfredo Buenaventura
f. Col. Antonino Buenaventura l. Ryan Cayabyab
2. Point out the characteristics of the musical style of the above-mentioned

Filipino composers.
Composer Characteristics of the Musical Style

________________ _______________________________________
________________ _______________________________________
________________ _______________________________________
________________ _______________________________________
________________ _______________________________________
________________ _______________________________________
________________ _______________________________________
________________ _______________________________________
________________ _______________________________________
________________ _______________________________________
39
IV. WHAT TO PROCESS
A. Listening Activity
1. Play excerpts of recordings of any one composition by the following

Filipino song composers:
Antonio Molina - Hatinggabi, Misa Antoniana, Grand Festival

Mass, Ang Batingaw, Kundiman- Kundangan;
String Quartet, Kung sa Iyong Gunita,
Pandangguhan, Amihan, Awit ni Maria Clara,
Larawan Nitong Pilipina
Lucio San Pedro - Sa Ugoy ng Duyan, Suite Pastorale, Lahing
Kayumanggi
Ryan Cayabyab - Misa, Four Poems for Soprano and Piano, Te
Deum, Kay Ganda ng Ating Musika, Limang
Dipang Tao, Da Coconut Nut, Alikabok,
Spoliarium, Kumukuti-kutitap
Col. Antonino
Buenaventura - Minuet, Mindanao Sketches, Divertimento for
Piano and Orchestra, Variations and Fugue,
and Greetings, Pandanggo sa Ilaw, Princesa
ng Kumintang, Pandanggo ni Neneng
Alfredo
Buenaventura - Maria Makiling (1961), Diego Silang(1966),
Prinsesa Urduha (1969); Ang Ating Watawat
(1965), Pasko ng Barangay (1964); Dakilang
Lahi (1971), Gomburza (1981), and Rizal, the
Great Malayan Antagonist (1990)
Rodolfo Cornejo - A la Juventud Filipina, Bailes de Ayer, Caprice
on a Folksong, Cello Sonata, Ibong Adarna,
Kandingan, Malakas at Maganda Overture,
Okaka, Oriental Fantasy, Ibong Adarna, Piano
Concerto Nos. 1,2,3, Ruby, Song of the Miners
Hilarion Rubio - Bulaklaken, Dance of the Nymphs Rondo,
Florente at Laura, Halik, Danza, Ang
Konsyerto (ballet), Ang Magsasaka, Bukang
Liwayway, Concertino in C (Marimba and
piano), Filipinas Kong Mahal, Hatulan Mo
Ako, Ginintuang Araw, In a Tropcal Sea,
Filipino Youth, Nela, Light, Narra, Mutya ng
Silangan
40
Rosendo Santos Jr. - Melinda’s Masquerade

Nicanor Abelardo - Nasaan Ka Irog?, Bituing Marikit, Mutya ng
Pasig, Paskong Anong Saya, Cavatina,
Kundiman ng Luha, Magbalik Ka Hirang
Francisco Santiago - Kundiman (Anak Dalita), Himutok, Pakiusap,
Madaling Araw, Sakali Man, Pilipinas Kong
Mahal, Ano Kaya ang Kapalaran?
Felipe de Leon Sr. - Bulaklak Alitaptap, Bagong Lipunan,
Payapang Daigdig, Pasko na Naman, Noche
Buena, Kay Tamis ng Buhay, Sapagkat Mahal
Kita
Francisco Buencamino - Harana, Pandanggo ni Neneng, Collar de
Sampaguita, Dulces las Horas, Mayon
(Fantasia de Concierto), My Soul’s Lament,
Larawan, Mazurka, Boholana, Mi Bandera,
Princesa ng Kumintang, Maligayang Bati,
Ang Bukang Liwayway, Ang Bagong Balitaw,
Himig ng Nayon, Damdamin (Romance),
Pizzicato Caprice
2. Let the students listen carefully to each excerpt and recognize the
different musical styles of the composers.
3. Have them analyze the music by taking note of the elements of music
present: rhythm, melody, tempo, dynamics, texture, harmony, form, and
timbre.
4. Let them choose a composition that they like, and then write a short
reaction paper on it in relation to the musical elements.
B. Evaluation of Listening Activity

1. After the above Listening Activity, prepare selected excerpts of

compositions by Lucio San Pedro, Col. Antonino Buenaventura, Alfredo
Buenaventura, Antonio Molina, Rodolfo Cornejo, Francisco
Buencamino, Hilarion Rubio, Rosendo Santos Jr., Francisco Santiago,
Nicanor Abelardo, Felipe Padilla de Leon Sr., and Ryan Cayabyab.
41
3. As you play a few measures of the first musical excerpt, the first student
in each line goes to the board and writes the name of the composer. The
second student will write the title of the music. The third student will
write the musical style. Then, the fourth student will write a description
of the music in one phrase.
their turn.
6. Assign one student as the scorer. The team with the highest score is the
winner. In case of a tie, the first team to finish is the winner.
What was the most significant thing that you have learned from this
activity?
Activity for Solo, Duet, Trio, Quartet, Quintet
1. Have the students compose a simple song, for which they will create both
the lyrics and the music.
2. They may adapt a certain melody from the compositions of the song
composers that they like, and then write new lyrics to fit the music.
3. They may also include an accompaniment using a guitar, flute, recorder,
keyboard, drums, tambourine, maracas, or even improvised musical
instruments from the environment.
4. Have the students sing their original songs or adaptations in class, either a
capella (without accompaniment) or with accompaniment.
5. Ask them this question: What motivated you to compose or adapt the music
of that particular song?
VI. WHAT TO PERFORM
A. Singing Activity
Individual or in groups: Let the students sing any of the compositions of

Lucio San Pedro, Col. Antonino Buenaventura, Alfredo Buenaventura,
Antonio Molina, Rodolfo Cornejo, Francisco Buencamino Sr., Hilarion
Rubio, Rosendo Santos Jr., Nicanor Abelardo, Francisco Santiago, Felipe
Padilla de Leon, and Ryan Cayabyab.
42
If individual activity, let the students choose one composition that they will
perform. If group activity, let them do the following procedure:
1. Divide the class into four groups.
2. Let the students choose any traditional composer, and research further
on his compositions, if needed.
3. After researching, have them select one composition that they like best
or they are familiar with. Or they may opt to learn a new song.
4. Let them choose their group’s musical director.
5. To learn and practice their chosen song, the students may bring to class
“minus one” music on a CD, mobile phone, or USB.
6. They may add instrumental accompaniment using a guitar, flute, recorder,

maracas, tambourine, keyboard, or a combination of any of these.
7. They may also improvise simple vocal or instrumental accompaniment,

by exploring ways of creating sounds from a variety of sources or from
the environment.
8. Let them sing the song in class with their groupmates interpreting the
music with appropriate pitch, rhythm, style, timbre, dynamics, melody,
texture, harmony, and expression.
9. After all the performances, choose the “Best Singing Group” based on:
- musicianship (musical elements) 60%
- presentation impact and showmanship 20%
- ensemble coordination and organization 20%
10. Have all the students evaluate by rating each other’s performance and
their own performance.
Evaluation of Singing Activity
Have the students rate the individuals/groups based on performance quality:
Rating Scale: 5 - Very Good 2 - Poor

4 - Good 1 - Needs Follow up
3 - Fair
43
Rating the other performers (if individual activity):
1. How well did the performers express the message

of the songs? __________
2. How well did the performers pronounce
the lyrics of the songs? __________
3. How well did the performers sing based on
musical elements and style:
a. pitch __________
b. rhythm __________
c. style __________
d. expression __________
e. dynamics __________
f. melody __________
g. timbre __________
h. texture __________
i. harmony __________
Rating the group members (if group activity):
1. How well did the group members express the

message of the songs? __________
2. How well did the group members sing? __________
3. How well did the group members participate? __________
B. Creating and Performing Activities: Musical
1. Divide the class into four groups. Each group will choose a traditional
composer who was discussed in class, and research further on his life
and works.
2. Have the students create a contemporary musical on the life of their

chosen composer. Encourage them to incorporate some of his
compositions (melodic fragments) in the musical’s story line.
3. For the creation of the musical, have the students improvise simple
vocal or instrumental accompaniments (example: guitar, keyboard,
percussion) for the songs that they have chosen.
4. Let them also explore ways of creating sounds as accompaniment on a

variety of sources or from the environment.
5. Each group will then perform their original musical in class.
44
6. Choose the “Best Group Musical Performance” based on:

- audience impact and showmanship 20%
- stage discipline or deportment 10%
Evaluation of Creating and Performing Activities: Musical

3 - Fair
Rating the other performers/groups:

1. How well did the performers express the
message of the musical? __________
2. How well did they perform in the musical
based on the following:
a. voice quality __________
b. expression __________
c. stage presence __________
d. audience impact __________
e. mastery of the musical __________
g. musical elements (rhythm, melody, dynamics) __________
h. technique __________
i. showmanship __________
Rating your own group members:

1. How well did your group members express the
2. How well did your group members perform? __________
3. How well did your group members coordinate with
each other during the performance in the ensemble? __________
4. How well did your group organize yourselves in
the ensemble? __________
Rating myself:
1. How well did I express the message of the musical? __________
2. How well did I perform with my group? __________
3. How well did I coordinate with the other members
during the performance in the ensemble? __________
4. How well did I cooperate in the ensemble? __________
45
Quarter III
Sessions 4 and 5
NEW MUSIC COMPOSERS
I. SUBJECT MATTER

New Music Composers
Sub Topics: Jose Maceda

Lucrecia Kasilag
Ramon Santos
Fr. Manuel Maramba, OSB
Jerry Dadap
Francisco Feliciano
Josefino “Chino” Toledo
Jonas Baes

lives and works



Pages 119-124
II. LESSON PROPER
46
2. Motivation:
Choose recordings from past lessons to serve as a bridge to the new
lesson. Display the chart of composers begun in the last lesson. As the
class listens to selected excerpts of the recordings, display on the board
pictures of each of the composers.
1. Have the students watch and listen to presentations of the lives, musical
achievements, and works of Jose Maceda, Lucrecia Kasilag, Ramon
Santos, Fr. Manuel Maramba, OSB, Jerry Dadap, Francisco Feliciano,
Josefino “Chino” Toledo, and Jonas Baes.
2. Let them watch the following musical examples on YouTube:

a. Udlot-udlot by Jose Maceda performed at Senri Expo Park, Japan
b. Huntahang Gitara composed and conducted by Josefino Toledo
c. Banwa by Jonas Baes
d. Lullaby by Lucrecia Kasilag, National Artist for Music
e. Pamugun by Francisco Feliciano, National Artist for Music
f. Alay sa Inang Bayan by Jerry Dadap
3. Ask the students to express their personal reactions or feelings about

these composers’ works through group discussion and analysis. Have
them report the outcome of the group discussion in class.
C. INTEGRATION

Philippine History for a better understanding of the styles and their sources
of influence.

D. GENERALIZATION

elements with Western techniques in their compositions.
47
III. WHAT TO KNOW
1. Research on and describe the characteristics of New Music.
2. Discuss the lives and works of the following 20th century Filipino composers
and performers:
a. Jose Maceda e. Jerry Dadap

b. Lucrecia Kasilag f. Francisco Feliciano
c. Ramon Santos g. Josefino “Chino” Toledo
d. Fr. Manuel Maramba, OSB h. Jonas Baes
3. Point out the characteristics of the musical styles of the above-mentioned

Filipino composers.
Composer Characteristics of the Musical Style
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
IV. WHAT TO PROCESS
1. Play excerpts of recordings of any one composition by the following

Filipino New Music composers:
48
a. Jose Maceda - Ugma-Ugma; Agungan; Pagsamba; Ugnayan;

Udlot Udlot
b. Lucrecia Kasilag - Toccata for Percucssion and Winds; The Legend

of the Sarimanok; Divertissement and Concertante; Dularawan
c. Josefino “Chino” Toledo - 2nd Og-og; Abe; Ako ang Daigdig;

Alitaptap; Aliw-iw; Awiting Bayan; Barasyon; Asia; Kah-non;
Humigit Kumulang; Lima; Mi-sa; Missa de gallo; Oyog-Oyog;
Musika para sa; Pasyon at Buhay; Pompyang; Pintigan; Pilipino
Komiks; Sigaw; Tatluhan; Auit, Ub-og; Ug-nay; Tula-li
d. Francisco Feliciano - Sikhay sa Kabila ng Paalam; Ashen Wings;

La Loba Negra; Prelude and Toccata ; Fragments; Yerma; The life
of wartime Filipino hero, Jose Abad Santos; Transfiguration; Missa
Mysterium; Pokpok Alimpako; Salimbayan; Umiinog, Walang
Tinag; Pamugún; Restless
e. Jerry Dadap - The Passionate and the Wild; Mangamuyo I);

Mangamuyo II; The Redemption; Five Little Fingers; Tubig ng
Buhay; Dakilang Pagpapatawad; Andres Bonifacio, Ang Dakilang
Anak Pawis; Ang Pag-ibig ng Diyos; Balitaw Nos. 1-7; Lam-ang
Epic; Lorenzo Ruiz; Chorale Symphonic Ode Nos. 1 and 2; Aniway
at Tomaneg; Song Cycle, Nos. 1-4; Choral Cycle Nos. 1-3; Diyos
Ama ay Purihin
f. Fr. Manuel Maramba, OSB - Aba!, Sto. Niño; La Naval; Lord

Takayama Ukon; Awakening; Seven Mansions; Papal Mass for
World Youth Day, 1995; Mass in Honor of St. Lorenzo Ruiz; Mass
in Honor of the Sto. Niño; cantatas St. Lorenzo Ruiz, St. Benedict,
and St. Scholastica; Three Psalms—A hymn in honor of St. Lorenzo
Ruiz, and the official hymn of the 1996 National Eucharistic
Congress; Ang Sarswela sa San Salvador; Pugad Lawin; The Virgin
of Naval; Transfiguration
g. Ramon Santos - Ding Ding nga Diyawa; Nabasag na Banga at

Iba’t iba pang Pinag-ugpong-ugpong na Pananalita sa Wikang
Pilipino (para sa labing anim na tinig); L’BAD
h. Jonas Baes - WALA (Nothingness); DALUY (flow); IBO-

IBON (Birdwoman); SALAYSAY; PATANGIS-BUWAYA;
PANTAWAG; BASBASAN (Blessing)
49
2. Let students listen carefully to each excerpt and be able to recognize

the different musical elements and styles of the composers.
3. Have them analyze the music focusing on the elements of music present,
such as rhythm, melody, tempo and dynamics, texture and harmony,
form, and timbre.
4. Let them choose a composition that they like and write a reaction paper
on it.
B. Evaluation of Listening Activity:

1. After the above Listening Activity, prepare selected excerpts of the

compositions that the students had listened to.
3. As you play a few measures of the first excerpt, the first student in each
line goes to the board and writes the name of the composer. The second
musical style. Then, the fourth student will write a description of the
music in one phrase.
their turn.
6. One student will be assigned as the scorer. The team with the highest
score is the winner. In case of a tie, the first team to finish is the winner.
What was the most significant thing that you have learned from this
activity?
1. Divide the class into groups. Let them perform in solo, duet, trio, quartet,
and quintet.
50
2. Each group will compose a simple song incorporating indigenous music

and folksongs; or they may adapt a certain melody from the compositions
of the New Music composers that they like.
3. Have them write new lyrics to fit the music, and include an accompaniment
using guitar, flute, recorder, keyboard, percussion, or improvised musical
instruments.
4. If appropriate, encourage them to choreograph dance movements to interpret

the music of the composer that they have chosen.
5. All the groups will then perform their composition or song adaptation in
class, either a capella (without accompaniment) or with accompaniment.
6. Have the students answer the following: “How did you feel in incorporating
our indigenous music in your composition or song adaptation?” Have them
submit this paper in class next meeting.
VI. WHAT TO PERFORM
Creating and Performing Activities: Musical
1. Divide the class into four groups. Each group will choose a traditional
composer who was discussed in class, and research further on his life and
works.
2. Based on their research, have them create a contemporary musical on the

life of their chosen composer, incorporating some of his compositions
(melodic fragments) in the musical’s story.
3. Encourage them to improvise simple vocal or instrumental accompaniments

(example: guitar, keyboard, percussion) to the songs that they have chosen.
4. For the creation of the musical, ask them to explore ways of creating sounds
as accompaniment on a variety of sources or from the environment.
5. All the groups will then perform their musical in class.

51

3 - Fair

2. How well did the performers sing and act in
the musical based on the following:
f. pitch __________
g. rhythm __________
h. style __________
i. acting __________

3. How well did your group members participate? __________
Rating myself:

52
Quarter III
SONG COMPOSERS
I. SUBJECT MATTER

Song Composers
Sub Topics: Levi Celerio

Constancio de Guzman
Mike Velarde Jr.
Ernani Cuenco
Restie Umali
George Canseco
Angel Peña
Leopoldo Silos
Santiago Suarez

lives and works



Pages 125-140
II. LESSON PROPER
53
2. Motivation:
As the class listens to the recordings, display on the board pictures of
each of the composers. Choose recordings from past lessons to serve as
a bridge to the new lesson. Display the chart of composers in the last
lesson.
1. Let the students watch and listen to presentations of the lives, musical
achievements, and works of Levi Celerio, Constancio de Guzman, Mike
Velarde Jr., Ernani Cuenco, Restie Umali, George Canseco, Angel Peña,
Leopoldo Silos, Santiago Suarez
2. Have them watch the following video clips on YouTube

a. Bayan Ko by Constancio de Guzman as performed by Lea Salonga
b. Bato sa Buhangin by Ernani Cuenco, National Artist for Music as
performed by Raul Sunico, international concert pianist
c. Hanggang sa Dulo ng Walang Hanggan by George Canseco as
performed by Raul Sunico, international concert pianist
d. Maestro Angel Peña, The Trailblazer of Pinoy Jazz (Documentary)
e. Levi Celerio on Ryan Cayabyab Show; ASAP 18 presents The Music
of Levi Celerio; Regine Velazquez-Levi Celerio OPM Classics with
Ryan Cayabyab
f. Dahil sa Iyo by Mike Velarde Jr
g. Saan Ka Man Naroroon by Restie Umali
h. Dahil sa Isang Bulaklak by Leopoldo Silos Jr.
i. Bakya Mo Neneng by Santiago Suarez as performed by the Mabuhay
Singers
3. Let the students express their personal reactions or feelings about these
composers’ works through group discussion and analysis. Then, have
them report the outcome of the group discussion in class.
C. INTEGRATION

Philippine History for a better understanding of the styles and their sources
of influence.
54

D. GENERALIZATION

elements with Western techniques in their compositions. Some adopted the
kundiman as their form in composing their music.
III. WHAT TO KNOW
1. Discuss the lives and musical contributions of the following 20th century
Filipino song composers
a. Levi Celerio f. George Canseco

b. Constancio de Guzman g. Angel Peña
c. Mike Velarde Jr. h. Leopoldo Silos Sr.
d. Ernani Cuenco i. Santiago Suarez
e. Restie Umali
2. For each of the composers named above, ask the students to give the title
of any of his compositions.
Composer Title of Any Composition

________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
55
IV. WHAT TO PROCESS
1. Play excerpts of recordings of any of the following works by Filipino

song composers:
a. Levi Celerio - Ang Pipit, Sa Ugoy ng Duyan, Misa de Gallo,

Itik-itik (folk song), Tinikling (folk song), Ang
Pasko ay Sumapit
b. Constancio
de Guzman - Bayan Ko, Babalik Ka Rin, Ang Tangi Kong
Pag-ibig, Birheng Walang Dambana,
Maalaala Mo Kaya, Sa Piling Mo, Ang Langit
Ko’y Ikaw
c. Mike Velarde Jr. - Buhat, Ikaw, Bituing Marikit, Minamahal Kita,
Dating Sumpaan, Dalisay, Eternally Yours,
Gabi at Araw, Dahil sa Iyo
d. Ernani Cuenco - Nahan; Kahit na Magtiis; Diligin Mo ng
Hamog ang Uhaw na Lupa; Pilipinas, Inang
Bayan; Isang Dalangin; Kalesa; Gaano Ko
Ikaw Kamahal; Bato sa Buhangin
e. Restie Umali - Saan Ka Man Naroroon, Alaala ng Lumipas,
Ang Pangarap Ko’y Ikaw, Sa Libis ng Barrio,
Di Ka Nag-iisa, Paano Kita Lilimutin
f. George Canseco - Ikaw, Kailangan Kita, Dito Ba, Hiram, Langis
at Tubig, Hanggang sa Dulo ng Walang
Hanggan, Sinasamba Kita, Kastilyong
Buhangin, Minsan pa nating hagkan ang
Nakaraan, Ngayon at Kailanman, Saan
Darating ang Umaga, Sana Bukas Pa ang
Kahapon, Dear Heart, Gaano Kadalas ang
Minsan
g. Angel Peña - Bagbagtulambing, Igorot Rhapsody, Concerto
for Double Bass and Orchestra, Concerto for
Jazz Quartet and Orchestra
h. Leopoldo Silos Sr. Dahil sa Isang Bulaklak, Hindi Kita Malimot,
Aling Kutsero, Ay Anong Saklap, Basta’t
Mahal Kita, Diyos Lamang ang Nakakaalam,
Hindi ko Malilimutan, Lagi Kitang Naaalala,
Langit at Lupa, Halina Halina, Lihim na Pag-
ibig, Mundo Ma’y Mawala
56
i. Santiago Suarez - Ligaya Ko, Pandanggo ni Neneng, Dungawin

Mo Hirang, Bakya Mo Neneng, Caprichosa,
Sa Libis ng Nayon, Harana, Kataka-taka,
Labandera Ko, Lakambini, Kamia, Ikaw ang
Buhay Ko!, Kay Lungkot Nitong Hating-Gabi,
Mutya Niyaring Puso
2. Have the students listen carefully to any musical excerpt and be able to
recognize the different musical styles of the composers.
3. Instruct them to analyze the music that they heard by noting the elements
of music present: rhythm, melody, tempo and dynamics, texture and
harmony, form, and timbre.
4. Let them choose a composition that they like and write a brief reaction
paper.
5. Have them answer “Why did you choose that composition?”
B. Evaluation of Listening Activity

1. After the above Listening Activity, prepare selected excerpts of

compositions by the following: Celerio, De Guzman, Velarde, Cuenco,
Umali, Canseco, Peña, Silos, and Suarez.
3. As you play a few measures of the first excerpt, the first student in each
line goes to the board and writes the name of the composer. The second
musical style. Then, the fourth student will write a description of the
music in one phrase.
their turn.
6. One student will be assigned as the scorer. The team with the highest
score is the winner. In case of a tie, the first team to finish is the winner.
57
“What was the most significant thing that you have learned from this
activity?”
1. Let the students compose a simple song, for which they will write the lyrics
and the music.
2. They may also choose to adapt a certain melody from the compositions of
the song composers that they like, and write new lyrics to fit the music.
3. They may include an accompaniment using guitar, flute, recorder, keyboard,

drums, tambourine, maracas, or improvised musical instruments from the
environment.
4. Encourage them to add some dance movements or choreography to interpret

the music.
5. They will then perform in class their composition or song adaptation, as

well as the dance movements, if appropriate.
6. They may sing their song a capella (without accompaniment) or with

accompaniment.
7. After the class performances, ask the students: “What motivated you to
compose an original song or to adapt the music of an existing song?” “How
did you feel about this activity?”
VI. WHAT TO PERFORM
A. Singing Activity: Song Medley
Individual or in groups: Sing any of the compositions of Celerio, De

Guzman, Velarde, Cuenco, Umali, Canseco, Peña, Silos, and Suarez.
For group work, have the students do the following:
1. Let the students choose any three songs by the above composers that
they like best or that they are familiar with. Or they may opt to learn a
new song. Have them research further on the compositions, if needed.
58
2. Each group will choose their musical director and they will create a
three- to five-minute medley of their chosen songs.
3. To learn and practice the songs, they may bring “minus one” music on a
CD, or from their mobile phones or USB.
4. They may add instrumental accompaniment using a guitar, flute, recorder,

maracas, tambourine, or keyboard. Or they may improvise simple vocal
accompaniment.
5. Have them explore ways of creating sounds as instrumental

accompaniment to the song from varied sources or from the environment.
6. All the groups will then perform their song medleys in class, interpreting
the music with appropriate pitch, rhythm, style, timbre, dynamics,
melody, texture, harmony, and expression.
7. Choose the “Best Singing Group” based on the following criteria:

- presentation impact and showmanship 20%
B. Creating and Performing Activities: Musical
1. Divide the class into four groups. Each group will choose one song
composer discussed in class, and research further on his life and works.
2. Each group will then create a contemporary musical on the life of their
chosen composer, incorporating some of his compositions (melodic
fragments) in the musical’s story.
3. Let them improvise simple vocal or instrumental accompaniments

(example: guitar, keyboard, percussion). Have them also explore ways
of creating sounds as accompaniment from varied sources or from the
environment.
4. All the groups will then perform their musicals in class.

59

3 - Fair

2. How well did the performers sing and act

in the musical based on the following:
g. musical elements (rhythm, melody, dynamics) __________
h. technique __________
i. showmanship __________
j. acting __________

3. How well did your group members coordinate with
each other during the performance in the ensemble? __________
4. How well did your group organize yourselves in
the ensemble? __________
Rating myself:

60
Quarter IV: 20th and 21st Century Multimedia Forms
Quarter IV
20TH AND 21ST CENTURY
MULTIMEDIA FORMS
CONTENT STANDARDS
The learner demonstrates understand of...
1. Characteristic features of 20th and 21st century opera, musical play, ballet,
and other multimedia forms.
2. The relationship among music, technology, and media.
The learner…
1. Performs selections from musical plays, ballet, opera in a satisfactory level of

performance.
2. Creates a musical work using media and technology.
The learner…
1. Describes how an idea or story in a musical play is presented in a live
performance or video,
2. Explains how theatrical elements in a selected part of a musical play are
combined with music and media to achieve certain effects,
3. Sings selections from musical plays and opera expressively;
4. Creates/improvises appropriate sounds, music, gestures, movements, and
costume using media and technology for a selected part of a musical play;
5. Presents an excerpt from a 20th or 21st century Philippine musical and
highlights its similarities and differences to other Western musical plays.
61
Quarter IV
20TH AND 21ST CENTURY MULTI-MEDIA FORMS
OPERA IN THE PHILIPPINES
I. SUBJECT MATTER
A. Topic: 20th and 21st Century Multi-Media Forms
Sub Topics: Philippine Opera

a) La Loba Negra
b) Noli Me Tangere
c) El Filibusterismo
B. Materials: Pictures/slides of performances of opera, ballet,

musical plays, and Broadway musicals
Charts with bullet-highlights of the works
Musical scores


Pages 142-155
II. LESSON PROPER
2. Motivation:
As the class listens to the recordings of contemporary Philippine
composers, display on the board pictures of each of the composers.
lesson. Display the chart of composers taken up in the last lesson.
62
1. Let the students watch and listen to presentations or performances of

Philippine opera on a DVD.
2. Have them watch the following performances on YouTube:
a. Noli Me Tangere, The Opera

b. El Filibusterismo, The Opera
c. An excerpt from the opera La Loba Negra performed by Alegria
Ferrer
d. Opera Medley: 100 Yearsof World Class Music (UP Centennial)
e. Le Donna e Mobile, an aria from the opera Rigoletto by Verdi,
Brindisi, an aria from the opera La Traviata by Verdi performed by
The Three Tenors - Luciano Pavarotti, Placido Domingo, and Jose
Carreras
f. Wedding March from the opera A Midsummer Night’s Dream by
Mendelssohn
g. Triumphal March from the opera Aida by Verdi
3. After watching and listening to the opera, let the students express their
personal reactions or feelings about these works through group
discussion and analysis. Report the outcome of the group discussion in
class.
C. INTEGRATION
The lesson on 20th and 21st Century Multi -Media Forms may be integrated
with Philippine History for a better understanding of the styles and their
sources of influence.
Infusion of values: Appreciation of our nationalist composers, lyricists, story

tellers, and performers as major exponents of our cultural heritage.
D. GENERALIZATION
The opera is both an art form and a musical form. The singers and
musicians perform a dramatic work combining text (called libretto)
a and the
music usually in an elaborate theatrical setting. It incorporates many of the
elements of theater, such as acting, scenery, costumes, and sometimes
63
includes dance. The performance is typically given in an opera house, cultural

center, theater, or auditorium.
The performance is usually accompanied by an orchestra or a smaller musical

ensemble. The dialogue is mostly sang and not spoken. Opera is part of the
Western classical music form and tradition. It started in Italy at the end of
the 16th century and soon spread through the rest of Europe.mpositions.
III. WHAT TO KNOW
1. How did Philippine opera reflect life in the 20th century?
2. Discuss the characteristics of Philippine opera in relation to other multi-

media forms. Explain your answers.
3. What role did media and social media play in the development of these
musical genres specifically the radio, television, video, and recordings?
4 Explain how theatrical elements in a selected part of an opera or musical

play are combined with music and media to achieve certain effects.
5. Describe how an idea or story in a musical play is presented in a live

performance.
6. Describe how an idea or story in an opera or musical play is presented in a

music video.
IV. WHAT TO PROCESS
Listening and Singing Activities
You may let the class do these listening and singing activities separately or
combined together, depending on the allotment of time.
A. Listening Activity: Philippine Opera
1. Divide the class into groups. Each group will be assigned to research
on the lyrics of Philippine opera .
2. Play musical excerpts from the arias of Noli Me Tangere, La Loba Negra,
and El Filibusterismo.
64
3. Let the students listen to the selections carefully to appreciate the music.
4. Let them analyze the music and take note of the elements of music
present, such as rhythm, melody, tempo and dynamics, texture and
harmony, form, and timbre.
5. Let them choose a composition that they like and describe the lyrical
content and message that the piece wants to convey.
6. Let them write a reaction paper on their impression of the opera and its
message.
Evaluation of Listening Activity: Philippine Opera
Let the students answer the following rating questions:

3 = Fair
Rate scores are based on melodic appeal, message content, singability,

and text relevance to present day society.
1. How well did I listen to the aria from a Philippine

opera? ___________
2. How well did I listen to the vocal interpretations

of songs from Philippine opera? ___________
3. How well can I identify songs from Philippine opera?___________
4. How well can I describe the qualities of

Philippine opera through listening? ___________
B. Singing Activity: Philippine Opera
1. Divide the class into groups. Each group will be assigned to learn and
sing in class an aria from any of the Philippine opera discussed in class.
Suggested arias:
65
La Loba Negra - Napakahaba na ng Gabi
Noli Me Tangere - Kay Tamis ng Buhay

Huwag Mo Akong Pabayaan
Awit ng Gabi ni Sisa
El Filibusterismo - (search on the internet)
2. Let them practice singing the assigned aria with their group mates, using
the lyrics that they had researched.
3. Have each group sing their aria expressively in class, together with a
recording on CD or from the internet (YouTube). Time allotment for
each group is five (5) to ten (10) minutes only.
4. The group members may add choreography or some simple movements

or actions to interpret the aria. They may also use musical instruments
as accompaniment, and wear improvised costumes, if applicable.
5. Evaluate the performances based on:

- audience impact 20%
- stage presence 20%
- stage discipline and deportment 10%
6. Announce the “Best Performance Award.”
Enrichment Activities
Watch Live / TV Performances

1. Have the students watch live performances of Philippine opera that had
been discussed in class (if available in their area), or let them watch live
performances on TV or the internet.
2. Let them watch a live performance of a Western opera (ex: Rigoletto, Tosca,
La Traviata, Aida) or watch video clips or excerpts on TV or the internet.
3. They will then write a reaction paper on what they have watched.
Video Clips
2. Together with their group mates, have the students explore how multi-
media arts can be used to portray 20th century musical styles (specifically
Philippine opera) through a five-minute video clip using their digital cameras
or mobile phones.
66
3. They may use the internet as their reference.

4. Have them show and discuss their video works in class.
Group Activity
1. Divide the class into groups. Instruct each group to brainstorm among
themselves on Philippine opera.
2. Let them create a scene inspired by one of the Philippine operas they have
studied, using media and technology. They may incorporate elements from
local folktales, legends, history, biographies of heroes, and customs and
traditions.
3. For the music, they may compose their own aria or they may use or adapt
the melody of existing songs such as folksongs, indigenous music of their
area, or a Western aria. Then, let them write their own libretto suited to the
melody for the aria adaptation.
4. Instruct them to create or improvise appropriate sounds, music, gestures,

movements, and costumes using media and technology.
5. After this Performance Activity, let them answer the following: What insights
did I gain from this activity?
VI. WHAT TO PERFORM

Creating and Performing Activities
A. Live Performance of a Philippine/Original/Western Opera Excerpt
1. Divide the class into groups. Each group will choose an aria to perform
from any one of the following:
a) a Philippine opera (La Loba Negra, Noli Me Tangere,
El Filibusterismo)
b) the scene that they have previously created
c) an excerpt from a Western opera (Rigoletto, Tosca,
La Traviata, Aida)
2. Instruct them to create or improvise appropriate sounds, music, gestures,

movements, and costumes using media and technology for their selected
opera excerpt. Encourage them to be creative and improvise as needed.
67
3. All the groups will present the opera excerpt or scene they have prepared,
either using musical instruments as accompaniment or a capella (without
accompaniment).
4. Evaluate the performances based on:

5. Announce the “Best Group Performance Award.”
6. After the performances, ask the students to discuss the differences they
have observed and experienced between Philippine opera and western
opera.
B. Recording or Music Video
1. Divide the class into groups and let the students choose a group leader
who will assign 1 or 2 members to record the performance of their
group using a cassette recorder or they make a music video using their
mobile phone, digital camera, or video camera.
2. Let them play the recorded performance or show the music video to
their classmates.
3. Choose the “Best Video.”
Evaluation of the Performance Activity: Philippine Opera
You may also ask the students to evaluate the performance, using a rating scale:
Good, Better, Best
Rate scores are based on the group’s performance in terms of intonation, sound
quality, expression, mastery of the piece, and stage deportment.
1. Have a performance evaluation of how well each group sang any of the aria
from Philippine opera. The rest of the groups will serve as the judges.
2. Each group will have any of the following: three placards, score cards, or
paper sheets marked: GOOD, BETTER, BEST
68
3. The judging groups will raise their evaluation score cards after the
performance of each group. One student will be assigned to tabulate and
tally the results.
4. After the performance of all groups, the teacher will announce the winning
group with the “Best Performance” award.
Evaluation of Creating and Performing Activities: Philippine Opera
Let the students evaluate the performances of the individuals/groups/themselves.

4 - Good 1 - Needs Follow Up
3 - Fair
Rate scores are based on the performance quality.
Rating the other performers / groups:

1. How well did the performer/s express the
message of the musical? _______________
2. How well did the performer/s act based
on the following:
a. voice quality _______________
b. expression _______________
c. stage presence _______________
d. audience impact _______________
e. mastery of the musical _______________

message of the musical? _______________
2. How well did your group members perform? _______________
3. How well did your group members participate? _______________
Rating yourselves:
1. How well did I perform with my group
the Philippine opera? _______________
2 How well can I identify the opera based on
instrumentation, text, and purpose? _______________
opera through listening and singing to their
melody, harmony, rhythm, text, and mass appeal?_______________
69
VII. ENRICHMENT / ASSIGNMENT
1. Have the students listen to selected aria from a Philippine opera: La Loba
Negra, Noli Me Tangere, and El Filibusterismo which were discussed in
class.
2. Let them also listen to arias of other Philippine operas: Spoliarium and
Why Flowers Bloom in May by librettist Fides Cuyugan Asensio.
3. Write a brief reaction paper about it. Research further on the topic, if needed.
70
Quarter IV
20TH AND 21ST CENTURY MULTIMEDIA FORMS
Sessions 4 and 5
BALLET IN THE PHILIPPINES
I. SUBJECT MATTER
Sub Topics: Ballet in the Philippines

a) Lola Basyang
b) Rama Hari

Musical scores


Pages 156-162
II. LESSON PROPER
1. Review: Recall concepts from the past lessons.
2. Motivation:
As the class watches the performances of Philippine ballet (Lola Basyang

and Rama Hari) and Western ballet (Swan Lake, Nutcracker Suite, and
Giselle), display on the board pictures of each of the ballet performances
both Philippine and Western ballet.
71
1. Let the students watch performances of Philippine ballet or Western

ballet on a DVD.
2. Or they may watch the following ballet performances and recorded

interviews/documentaries on YouTube:
a. Sana’y Wala nang Wakas performed by Lisa Macuja, prima ballerina
and Coke Bolipata, violinist
b. Swan Lake performed by Lisa Macuja
c. Lisa Macuja-Elizalde, Prima Ballerina (documentary)
d. Moriones performed by Ballet Philippines
e. Karen Davila interviews Lisa Macuja
f. Swan Lake performed by Margot Fonteyn and Rudolf Nureyev
3. After watching and discussing the presentations, let the students add
these titles of Philippine ballet or Western ballet to the chart listing the
title of works, composers, visual aids, country, and style.
4. Have them express their personal reactions or feelings about these works
through group discussion and analysis. Then, report the outcome of the
group discussion in class.
C. INTEGRATION
The lesson on 20th and 21st Century Multi Media Forms may be integrated
with Philippine History , Literature, Art, and Music for a better understanding
of the styles and their sources of influence.
Infusion of values: Appreciation of our nationalist composers, story tellers,

and performers as major exponents of our cultural heritage expressed through
ballet.
D. GENERALIZATION
Filipino ballets vividly present folktales based on local fables. Examples are
Lola Basyang as well as epics from neighboring regions, like India’s
Ramayana. Highly communicative movements and steps dramatize the
actions in the respective stories. The colorful sets and costumes add to the
glitter and attraction of the productions.
72
Although not as extensively explored as the other performing genres for

local adaptation, Filipino ballet productions have evoked wide enthusiasm
from people of all ages. They have been added to the repertory of Philippine
dance companies to supplement the Western classical ballets, such as
Nutcracker Suite, Swan Lake, Giselle, and Sleeping Beauty.
III. WHAT TO KNOW
1. How did the different forms of Philippine ballet reflect life in the 20th century?
2. Discuss the characteristics of Philippine ballet and other multi-media forms.

Explain your answers.
development of Philippine ballet?
4. Discuss the relationship among music, technology and media in the

development of Philippine ballet. Explain your answers.
5. Explain how theatrical elements in a selected part of ballet are combined

with music, visual arts, and media to achieve certain effects.
6. Describe how an idea or story in a ballet is presented in a live performance

or video presentation.
7. How is Philippine ballet relevant to life in the 20th and 21st century in
relation to media and technology?
8. Discuss some characterristics of ballet that made it popular.
IV. WHAT TO PROCESS
Listening Activity: Music for Ballet
1. Play music recordings from Philippine ballet or Western ballet.
2. Let the students listen carefully to the recordings and let them analyze the
music Let them take note of the elements of music present, such as rhythm,
melody, tempo and dynamics, texture and harmony, form, and timbre.
73
3. Let them express a visual figure or visual interpretation for a particular

piece that they like.
Evaluation of Listening Activity: Music for Ballet

3 = Fair
Rate scores are based on melodic appeal and suitability for the ballet’s theme and
story line.
1. How well did I listen to the musical interpretations
of Philippine or Western ballet? _____________
2. How well can I identify music from Philippine or
Western ballet? _____________
ballet music through listening? _____________
Group Activity: Compose Simple Ballet Accompaniment
1. Divide the class into groups.
2. Let each group compose a simple song or solo musical instrumentation that
will be used for simple ballet steps.
3. They may compose their own original song or they may use or adapt the
melody of existing songs (Ex: folksongs, indigenous music of your area,
pop, classical, ballet music, Broadway, and OPM).
4. Then, let them write their own lyrics suited to the melody for the song
adaptation
5. Encourage them to include an accompaniment (Ex: guitar, flute, violin,

keyboard, percussion instruments) or improvised musical instruments like
tambourines, maracas, triangle, and others that they may think of.
6. Have them create or improvise appropriate sounds, music, gestures,

74
7. They will then perform their music composition with simple ballet steps,
movements, or choreography.
8. After this activity, let them answer the following question: “What insights
did I gain from this activity?”
VI. WHAT TO PERFORM

Creating and Performing Activities
A. Live Performance of Ballet
1. Divide the class into groups. Have each group choose to perform simple
steps and choreography from any Philippine ballet, from the ballet that
they have previously created, or an excerpt from any Western ballet.
2. Let them create or improvise appropriate sounds, music, gestures,

movements, props, and costumes using media and technology for a
selected part of the ballet.
3. Let them perform the short ballet in class, using musical instruments as
accompaniment for their music works for the ballet.
4. Evaluate the group performances based on:

- creativity 40%
group using a cassette recorder. Or they make a music video using their
mobile phone, digital camera, or video camera.
2. Have all the groups play the recorded performance or show the music
video to their classmates.
75
Enrichment Activity: Film Viewing
1. Let the students watch video clips of the following ballets on the internet or
You Tube.
a. Swan Lake
b. The Nutcracker Suite
c. Giselle
2. Let them write a reaction paper on the viewed ballet performances.
Let the students answer the following.

4 - Good 1 - Needs Follow-up
3 - Fair
1. How well did I perform creative simple

ballet steps with my group? __________
based on instrumentation, text, and purpose? __________
through listening and singing to their melody, harmony,
rhythm, text, and mass appeal? __________
VII. GENERALIZATION
The Filipino Ballets vividly present folktales based on local fables. Example are
Lola Basyang as well as epics from neighboring Asian regions, such as India’s
Ramayana. Highly communicative movements and steps dramatize the actions
in the respective stories. The colorful sets and costumes add to the luster and
attraction of the productions.
Although not as extensively explored as the other performing genres for local
adaptation, the Filipino Ballet has evoked wide enthusiasm for people of all ages.
It has also added to the repertory of dance companies to supplement the Western
classical ballets.
76
VIII. EVALUATION
1. Have the students listen further to some music from Philippine and western
ballets, and identify their titles.
2. Let them play a game of “drawing lots” with the titles of various ballets
written on strips of paper. Ask them to say at least two things learned about
the Philippine or western ballet whose title they have drawn.
3. Let them research further on a Philippine or western ballet that they find
interesting.
77
Quarter IV
20TH AND 21ST CENTURY MULTIMEDIA FORMS
Sessions 6,7, and 8

PHILIPPINE MUSICAL PLAYS
I. SUBJECT MATTER
Sub Topics: Philippine Musical Plays

a) Andres Bonifacio: Ang Dakilang Anak Pawis
b) Atang
c) Katy
d) Florante at Laura
e) Daragang Magayon
f) Noli Me Tangere
g) El Filibusterismo
h) Magsimula Ka

Musical scores


Pages 167-186
II. LESSON PROPER
78
2. Motivation:
As the class listens to the recordings of Philippine musicals and Broadway
musicals, display on the board pictures of each of the performances.

lesson. Display the chart of ballet performances taken up in the last
lesson.
1. Let the students watch and listen to the presentations or performances

of Philippine musicals on a DVD.
2. Have them watch the following examples of Philippine musical

performances on YouTube:
a. Katy the Musical
b. Kitang Dalawa, Atang the Musical
c Magsimula Ka performed by Lea Salonga; Leo Valdez
d. Magandang Gabi performed by Nonoy Zuniga
e. El Filibusterismo, the Musical
f. Noli Me Tangere, the Musical
g. Daragang Magayon
h. Andres Bonifacio: Ang Dakilang Anak Pawis
3. After watching and listening to the performances, ask the students to

express their personal reactions or feelings about these works through
group discussion and analysis. Report the outcome of the group
discussion in class.
C. INTEGRATION
The lesson on 20th and 21st Century Multi Media Forms may be integrated
with Philippine History, Music, and Arts for a better understanding of the
creative styles and their sources of influence.
Infusion of values: Appreciation of our nationalist composers, lyricists, story

tellers, and performers as major exponents of our cultural heritage expressed
through Philippine musical plays.
79
D. GENERALIZATION
In the Philippines, the musical play is a more recent development than

Broadway and West End, relying mostly on adaptations from novels,
folktales, legends, myths, history, literary works, or biographical sketches
of famous artists and heroes. Musical plays have been associated with the
Broadway plays of New York City and West End Productions in London,
including My Fair Lady, South Pacific, Camelot, West Side Story, Les
Miserables, Phantom of the Opera, Lion King, Beauty and the Beast,
Wicked, Mamma Mia, Cats, and Miss Saigon.
III. WHAT TO KNOW
Let the students answer the follwing:
1. How did the different forms of Philippine music reflect life in the 20th
century?
2. Discuss the characteristics of musical play, broadway musicals, and other

multi-media forms. Explain your answers.
development of these different musical genres?
4. Discuss the relationship among music, technology and media in the

development of the musical play. Explain your answers.
5 Explain how theatrical elements in a selected part of a musical play are

combined with music and media to achieve certain effects.
6. Describe how an idea or story in a musical play is presented in a live

performance or video presentation.
IV. WHAT TO PROCESS
Listening and Singing Activities
1. Divide the class into groups. Each group will be assigned to research lyrics
of three musical excerpts of any Broadway musical and Philippine musical
play.
2. Play musical excerpts from the songs listed below.
80
Songs from Broadway Musicals

a. Phantom of the Opera (All I Ask of You, Music of the Night, Think of
Me, Phantom of the Opera)
b. West Side Story (I Have a Dream, Somewhere, Maria, Tonight)
c. Carousel (If I Loved You, You’ll Never Walk Alone )
d. Sound of Music (My Favorite Things, Eidelweiss, Do Re Mi, So
Long Farewell, The Lonely Goatherd, Maria, and The Sound of Music)
e. Miss Saigon (Sun and Moon, Movie in My Mind, I’d Give My Life
for You, I Still Believe, Last Night of the World)
f. Les Miserables (On My Own, I Dreamed a Dream, Empty Chairs
and Empty Tables, Do You Hear the People Sing?, Castle on a Cloud)
g. Beauty and the Beast (Something There, Be Our Guest, If I Can’t
Love Her, A Change in Me, Beauty and the Beast)
Songs from Philippine Musical Plays

a. Noli Me Tangere (Buksan Mo ang Iyong mga Mata, Paalam na
Pag-ibig,Sa Muling Pagkikita, Dalawang Liham, Tatlong Sulok ng
Pag-ibig, Ang Mga Sawimpalad, Ang Multo sa Lawa, Ang Totoo ay
Totoo, Sa Bagtasan ng Mga Landas)
b. El Filibusterismo (Awit ng Isang Lawin, Aklas)
c. Andres Bonifacio: Ang Dakilang Anak-Pawis (Marangal na Dalit
ng Katagalugan, La Deportacion, Awit ng Manggagawa, Anuman
Gagawin)
d. Katy! (Balut!; Ang Entablado ay Mundo; Tale, Tale; Pahiram ng
Kanta; Tupada; Bituing Tahimik; Minsan ang Minahal ay Ako)
e. Atang - Dulang May Musika (Nasaan Ka Irog, Pakiusap, Madaling
Araw, Nabasag ang Banga (from the zarzuela Dalaging Bukid),
Masayang Dalaga)
f. Florante at Laura (Pag-ibig ay Laging May Panahon, Sa Gubat,
Prutas at Lason, Isang Basong Pag-ibig, Awit ng Lumbay ni Florante,
Ligaya ng Dibdib, Sa Loob at Labas)
g. Daragang Magayon (note: research on YouTube)
h. Magsimula Ka (Magandang Gabi, Magsimula Ka, Pangarap, Pag-
ibig, Pag-asa, May Dilim, May Liwanag, Kahit Isang Dukha, May
Langit Ding Malalasap, Buhay Disco, Sisikat Din Ako, Tanging Ikaw
Lamang, Sa Tuwing Kapiling Ka)
3. Let the students listen to the selections to appreciate the music.
4. Have them sing the selections expressively together with the recordings or
from the internet (YouTube), using the lyrics that they researched. Time
allotment for each group is five (5) to ten (10) minutes only. Let them add
choreography and use musical instruments, if needed.
81
Evaluation of Listening Activity of Broadway Musicals
Let the students answer the following.

3 = Fair
Rate scores are based on melodic appeal, message content, singability, and text
relevance to present day society.
A. Broadway Musicals
1. How well did I listen to the songs from Broadway musicals?
a. Mamma Mia (from Mamma Mia) __________

b. Don’t Cry for Me Argentina (from Evita) __________
c. Summer Nights (from Grease) __________
d. Tomorrow (from Annie) __________
e. Memory (from Cats) __________
f. Beauty and the Beast (from Beauty and the Beast) __________
g. Sun and Moon (from Miss Saigon) __________
h. Send in the Clowns (from A Little Night Music) __________
i. On My Own (from Les Miserables) __________
2. How well can I identify songs from Broadway

musicals? __________

Broadway music through listening? __________
B. Philippine Musical Plays
1. How well did I listen to any of the vocal interpretations of songs from
Philippine musicals?
a. Noli Me Tangere
Song title: _____________________________ __________
b. El Filibusterismo
Song title: _____________________________ __________
82
c. Andres Bonifacio: Ang Dakilang Anak-Pawis

Song title: _____________________________ __________
d. Katy!
Song title: _______________ ______________ __________
e. Atang - Dulang May Musika

Song title: _______________ ______________ __________
f. Florante at Laura
Song title: _____________________________ __________
g. Daragang Magayon
Song title: _______________ ______________ __________
h. Magsimula Ka
Song title: _____________________________ __________
2. How well can I identify songs from Philippine

musicals? __________

the music of Philippine musicals? __________
Evaluation of the Singing Activity

3 - Fair
Rating the other performers / groups:
1. How well did the performer/s express

the message of the musical? ______________
2. How well did the performer/s act based on

the following:
83
a. voice quality ______________

b. expression ______________
c. stage presence ______________
d. audience impact ______________
f. mastery of the musical ______________
VI. WHAT TO UNDERSTAND
Group Activity
2. Within each group, let the students brainstorm among themselves one work
from a Philippine musical play.
3. Let them create a short musical play using media and technology. They may
use local folktales, legends, history, biographies of heroes, and customs
and traditions as themes of their musical work.
4. For the music, they may compose their own songs or they may use or adapt
the melodies of existing songs such as folksongs, indigenous music of your
area, pop, classical, Broadway, and OPM. Then, let them write their own
lyrics suited to the melody for the song adaptation for their musical play.
5. Have the students create or improvise appropriate sounds, music, gestures,

6. After this activity, let them answer this question on a 1/2 sheet of bond
paper: “What insights did I gain from this activity?”
VII. WHAT TO PERFORM
Group or Individual Activities
A. Live Performance of Philippine musicals and Broadway musicals
1. Divide the class into two groups.
2. Let each group present an excerpt of a 20th or 21st century Philippine

musical and an excerpt of a Broadway musical.
84
3. Let them highlight the similarities and differences between these two
forms of musicals.
4. They may use musical instruments as accompaniment for their music

works or they may perform a capella (without accompaniment).
5. They may use props and costumes, if needed. Let them create or
improvise appropriate sounds, music, gestures, movements, and costume
using media and technology for a selected part of the musical play and
broadway musical.
6. Let them perform the short musical play in class. They may add some
choreography or movements and improvised props and costumes, if
needed.
7. Ealuate the performance based on:

group. They may use a cassette recorder or they make a music video
using their mobile phone, digital camera, or video camera.
2. Have each group play their recorded performance or music video to

their classmates.
Let the students answer the questions.

3 - Fair
85
Rating myself:
1. How well did I perform with my group the following

musical styles?
a. Philippine musical play __________
b. Broadway musical __________

based on instrumentation, text, and purpose? __________

through listening and singing to their melody,
harmony, rhythm, text, and mass appeal? __________
4. How well can I identify the different musical styles

(Philippine musical plays and Broadway musicals)? __________

3. How well did your group members participate? __________
VI. GENERALIZATION
In the Philippines, the musical play is a more recent development than Broadway
and West End, relying mostly on adaptations from previous novels, literary works,
or biographical sketches of famous artists.
In Noli Me Tangere and El Filibusterismo, for example, the treatment in the

musical play production leans more towards the artistic and collaborative
conception of music, dance, and visual effects rather than the thematic emphasis
of the opera.
86
VII. EVALUATION
1. Let the students listen to some songs from the Philippine musicals and
Broadway musicals discussed in class and let them identify their titles.
2. Let them play a game of “drawing lots” with the title on each lot. Let them
say at least two things learned about the Philippine and Broadway musicals
on which the title is drawn.
VIII. ENRICHMENT ACTIVITY
1. Songs from Philippine musicals - Let the students listen to some songs
from the following Philippine musicals:
Song of Joseph
Mayo Bisperas ng Liwanang (May Day Eve)
The Legend of M
Larawan ng Kababaihan: Maskara at Mukha
Hades Ladies by Fides Cuyugan-Asensio
2. Film Viewing - Let the students watch any Philippine musicals and
Broadway musicals in VCD/DVD format, o they may watch excerpts or
video clips on the internet or YouTube.
Have them write a reaction paper on the viewed musical.
87
88
ARTS
Grade 10
Teacher’s Guide
89
ARTS Teacher’s Guide
Quarter I: MODERN ART
CONTENT STANDARDS
The learner demonstrates understanding of…

1. art elements and processes by synthesizing and applying prior learnings and skills.
2. the arts as integral to the development of organizations, spiritual belief, historical
events, scientific discoveries, natural disasters/occurrences, and other external
phenomena.
The learner…
1. performs/participates competently in a presentation of a creative impression
(verbal/nonverbal) from the various art movements.
2. recognizes the difference and uniqueness of the art styles of the various art
movements (techniques, processes, elements, and principles of art).
The learner…
1. analyzes art elements and principles in the production of work following a
specific art style from the various art movements.
2. identifies distinct characteristics of arts from the various art movements.
3. identifies representative artists and Filipino counterparts from the various art
movements.
4. derives the mood, idea, or message from selected artworks.
5. determines the role or function of artwork by evaluating their utilization and
combination of art elements and principles.
6. uses artworks to derive the traditions/history of the various art movements.
7. compares the characteristics of artworks produced in the various art movements.
8. creates artworks guided by techniques and styles of the various art movements.
9. describes the influence of iconic artists belonging to the various art movements.
10. applies different media techniques and processes to communicate ideas,
experiences, and stories showing the characteristics of the various art movements.
11. evaluates works of art in terms of artistic concepts and ideas using criteria from
the various art movements.
12. shows the influences of modern art movements on Philippine art forms.
13. mounts an exhibit using completed artworks influence by Modern Art
movements.
From the Department of Education curriculum for ARTS Grade 10 (2014)
90
Quarter I: Modern Art
Quarter I – Session 1
MODERN ART: IMPRESSIONISM
I. SUBJECT MATTER
A. Topic: Modern Art: Impressionism

 The Origins of the Movement
 A Break From Past Painting Traditions
 Works of Manet, Monet, and Renoir
 Post-Impressionism: Works of Cezanne and Van Gogh
B. Materials: Colored reproduction(s) of any impressionist artwork(s)

Photographs of impressionist artists (e.g., Van Gogh)
C. Reference: Arts Grade 10 Learner’s Materials, pages 189 - 203
II. PRE-ASSESSMENT
Conduct the following survey to assess what the students know or have
experienced concerning modern art and impressionism:
1. What comes to mind when you hear the term “modern art”?
2. Give some qualities or characteristics that make you consider an artwork
“modern.”
3. How is modern art different from earlier styles of art that you know?
4. Have you heard of the art movement known as impressionism?
5. If yes, can you name one famous impressionist artist that you know of?
6. Can you name or recognize one well-known artwork in the impressionist
style?
III. ORIENTATION ON QUARTER I CULMINATING EXHIBIT
General instructions:
1. Explain to the students that the culminating activity for Quarter I will be an
Exhibit of Modern Art.
2. Brief them that the various artworks that they will create in all the sessions
of Quarter I will be labelled for proper curating and will be turned over to
you for safekeeping, to be retrieved for mounting in the final exhibit.
3. Explain that, due to time constraints with just eight class sessions for Art in
one quarter, they must be prepared to complete the artworks and/or do
other required tasks for the exhibit outside of class hours.
91
IV. ACTIVITIES
A. PRESENTATION OF THE TOPIC
1. Ask the students to explain what they understand by the term “first
impression.” Have them describe the qualities of an impression. Note
down their different ideas on the chalkboard. Then briefly summarize
these to arrive at a definition of an impression (e.g., a quick glance, an
unclear or incomplete image of something, a partial sense of what
something is, etc.).
2. Explain that this particular session will present the pre-modern art
movement that came to be called impressionism. And they will learn
the reason why.
3. Present to the class a colored reproduction of an impressionist artwork.

Give the title of the work and the name of the artist.
4. Have the class turn to page 190 of the Arts Grade 10 Learner’s
Materials, and ask them to read silently the definition and general
characteristics of impressionism.
5. Call on students to briefly explain the following distinct characteristics

of this movement:
a. Color and light
b. Ordinary subjects
c. Painting outdoors
d. Open composition
e. The influence of photography
6. Ask them to explain if the sample reproduction you had presented fits
these general characteristics of an impressionist artwork or not. Have
them cite details. (For example, ask them if the painting’s style
appears realistic to them or not; what the subject is, if the forms are
distinct; what the colors are like, etc.).
7. Have the class turn to pages 194 to 200 of the Arts Grade 10 Learner’s
Materials, to see and appreciate the sample works of the great
impressionist masters Edouard Manet, Claude Monet, Auguste Renoir,
Paul Cezanne, and Vincent Van Gogh. Call on a few volunteers to
express their reactions to these works.
92
B. WHAT TO KNOW
On impressionism - Have the class answer the What to Know questions

on page 193 of the Arts Grade 10 Learner’s Materials:
1. How did the term impressionism originate? What did it mean?

2. In what country did this art movement begin, and in what period of
history?
3. What was the significance of the painting technique used by Delacroix in
the development of the impressionist style?
4. What characteristics distinguished impressionism from the art
movements of the earlier centuries? Cite and briefly describe at least
three of these characteristics.
5. How was the impressionist style influenced by the early stages of
photography?
On the works of the impressionist masters - Have the class answer the
What to Know questions on page 200 of the Arts Grade 10 Learner’s
Materials:
1. Name three of the most prominent artists of the impressionist movement.

2. Cite one outstanding characteristic of each of these artists.
3. Who were two of the most famous post-impressionists?
4. What new techniques or styles distinguished post-impressionism from
the earlier impressionism?
5. Identify 2 to 3 specific artworks where these techniques are prominently
seen.
C. WHAT TO PROCESS
The new color technique - Have the class do the “What to Process”
activity on page 193 of the Arts Grade 10 Learner’s Materials.
To help them understand the revolutionary technique for applying color

introduced by the impressionists (as seen in the painting by Delacroix),
have them experiment with this simplified process:
1. Take a set of watercolors (cake type or in tubes). Choose one
secondary color: orange, green, or violet.
2. Color a shape on a paper using this single secondary color.
3. Beside it, color a similar shape using strokes of the two primary colors
that are combined in that particular secondary color (ex: red + yellow
= orange; blue + yellow = green; red + blue = violet).
93
4. Hold the paper some distance away and ask your classmates to
comment on the “impression” of the secondary color you have created
and the actual color itself.
Impasto - Have the class do the “What to Process” activity on pages 200 -
201 of the Arts Grade 10 Learner’s Materials.
Materials: ¼ illustration board or chipboard

Tubes of acrylic paints (can be shared among the class members)
Paintbrushes
Wooden popsicle sticks
Pencil
Rags for clean up
Procedure:
1. Decide on a simple design for your artwork. Keep in mind what colors of
paints are available to you.
2. Using a pencil, sketch in the general design on the illustration board or
chipboard.
3. Apply the paints to your design with the brush, then more thickly with
the popsicle sticks and, in certain spots, squeeze the paint directly from
the tube.
4. Allow the paint to dry thoroughly before handling or displaying the
finished artwork.
D. WHAT TO UNDERSTAND
Have the class answer the What to Understand questions on pages 201 -
202 of the Arts Grade 10 Learner’s Materials:
Impressionism and the Rise of Modern Art
1. Was the name “impressionism” fitting for this art movement? Why do
you say so?
2. From your knowledge of world history during the late 19th century, do
you note a relation between the impressionist styles and the major events
of that period?
3. Do you agree that impressionism set the stage for the succeeding
movements of modern art? If so, in what ways?
4. Do you see this style reflected even in the works of today’s artists?
Explain briefly.
5. Do you know of any Filipino artists who also used or use the
94
impressionist style? If yes, explain how they applied this style in their
works. If not, you may want to research on this on the internet to
discover something new.
Elements and Principles of Art in Impressionism
1. As a review, briefly describe each of the following elements of art

which you have learned in your Art classes in the earlier grade levels.
a. Line
b. Shape
c. Form
d. Space
e. Color
f. Value
g. Texture
2. Now review the following principles of art which you have also
studied before. Briefly describe each one.
a. Rhythm / Movement
b. Balance
c. Emphasis
d. Harmony / Unity / Variety
e. Proportion
3. For each element of art above, cite one sample work by an

impressionist or post-impressionist painter and briefly describe how
this element was applied in a new way. You may use the following
sample format:
Ex.: Element: Line

Name of artist:_______________________________________
Title of work: _______________________________________
How the element was applied: __________________________
4. For each principle of art above, cite one sample work by an

impressionist or post-impressionist painter and briefly describe how
this principle was applied in a new way. You may use the following
sample format:
Ex.: Principle: Rhythm/Movement

Name of artist:_______________________________________
Title of work: _______________________________________
How the principle was applied: _________________________
95
Impressionism and You
1. Which of the impressionist masters—Manet, Monet, Renior, Cezanne,

and Van Gogh—has a style that most strongly appeals to you? Explain
briefly.
2. Is there a value in learning about art movements like impressionism that
arose over a century ago, halfway around the world from us? Why or
why not?
3. On a personal level, what struck you most about the impressionist style
of art?
4. Would you want to experiment further with painting in this style?
Explain briefly.
5. Would you want to own an artwork in the impressionist style? Why or
why not?
E. WHAT TO PERFORM
Preparing for the Culminating “Exhibit of Modern Art”
Guide the students in preparing their artworks for the culminating exhibit at
the end of the quarter.
1. All the finished artworks should be labelled with original titles, the
student’s name or the group members’ names, the date, and the technique
used.
2. Store the finished artworks for inclusion in the exhibit at the end of the
quarter.
V. GENERALIZATION
Impressionism was an art movement that planted the seeds for what we now
know as modern art. The movement began in Europe in the mid-1800s and
introduced exciting new approaches and techniques for applying the elements of
art (particularly color and texture) in ways that gave impressionist paintings a
sense of energy, freshness, and intensity.
Impressionism was more concerned with capturing a sense or feel of the subject
(in other words, an “impression”), rather than a realistic rendering. Thus, this
movement shifted away from posed scenes created inside studios to everyday,
sometimes mundane, subjects painted outdoors in natural light.
96
Among the most famous impressionist artists were Edouard Manet, Claude
Monet, Auguste Renoir, and Paul Cezanne from France; and Vincent Van
Gogh from The Netherlands.
VI. SUMMATIVE TEST
Use the following quiz items to assess the students’ grasp of the topics
discussed:
1. How did the term impressionism originate?
2. What did it mean?
3. Why is Delacroix’s painting, The Barque of Dante, considered so significant
in the emergence of the impressionist style?
4. Cite and briefly describe at least three qualities that distinguished
impressionism from the art movements of the earlier centuries.
5. Who were some of the key figures in this movement?
6. Name one impressionist painter and one post-impressionist painter.
7. Name at least 3 impressionist artworks.
Quarter I – Sessions 2 and 3

EXPRESSIONISM: A BOLD NEW MOVEMENT
I. SUBJECT MATTER
A. Topic: Expressionism: A Bold New Movement

 neoprimitivism
 fauvism
 dadaism
 surrealism
 social realism
B. Materials: Colored reproduction(s) of any expressionist artwork(s)

Photographs of expressionist artists (e.g., Pablo Picasso)
For art project: ¼ cartolina or ¼ box board; acrylic,
poster paints, or any available paints;
markers, crayons, pastels, or colored
pencils; glue or paste
C. Reference: Arts Grade 10 Learner’s Materials

Pages 203 - 208
97
II. PRE-ASSESSMENT
experienced concerning expressionism:
1. Is the name of the art movement “expressionism” familiar to you at all? If

yes, what do you know about this movement?
2. Have you heard of the artistic styles known as “surrealism” or “dadaism”?
3. If yes, do you know of any famous artist who painted in these styles?
4. Would you like to own an artwork in an expressionist style? Why or why
not?
III. ACTIVITIES [Session 2]
1. Present to the class a colored reproduction of an expressionist artwork.

Give the title of the work and the name of the artist. Let the students
give their comments as to whether this artwork fits their ideas about
Modern Art.
2. Have the class turn to page 203 of the Arts Grade 10 Learner’s
Materials, and ask them to read silently the definition and general
characteristics of expressionism. Call on some students to give the
definition and characteristics in their own words.
3. Review briefly with the class the elements of art that they have studied
in the earlier grades:
a. line d. color
b. shape / form e. value
c. space f. texture
Call on some students to comment on how the artwork you presented
makes use of these elements to exhibit the qualities of expressionism.
4. Divide the class into five groups. Assign to each group one of the
movements under expressionism:
a. neoprimitivism d. surrealism
b. fauvism e. social realism
c. dadaism
5. Have each group read the description of their assigned art movement
(Arts Grade 10 Learner’s Materials, pages 203 - 208) and study the
sample works.
98
6. Have each group make a brief presentation in front of the class,

describing their assigned art movement and pointing out its
characteristics in the sample work (with title and artist’s name).
7. Show the photograph of Pablo Picasso. Explain that he was one of the
most famous expressionists, whose works are known the world over.
B. WHAT TO KNOW
Have the class answer the What to Know questions on page 211 of the
Arts Grade 10 Learner’s Materials:
1. Describe how the different elements and principles were used by

expressionist artists to convey their individual style. Discuss 3 examples
from works in this Learning Material.
2. What qualities make an artwork expressionistic?
3. Where did neoprimitivism get its influences?
4. Who is the French artist famous for his fauvist style?
5. What are the characteristics of fauvism?
6. Why was the child’s term “dada” fitting for the art movement
known as dadaism?
7. What style of painting is Salvador Dali known for?
8. What art movement expressed the artists’ social role?
C. WHAT TO PROCESS [Session 3]
Have the class do the “What to Process” activities on page 212 of the Arts
Grade 10 Learner’s Materials. Divide the class into groups of 5 to 6
students each.
Create a Work of “Social Realism”

Give these instructions to the group members:
1. With your groupmates, choose a current issue in society that you feel
needs to be addressed.
2. Select art materials that are readily available, such as one whole sheet
of cartolina; acrylic paints, poster paints, or any available paints;
markers, crayons, pastels, or colored pencils; #8 brush; scissors; glue
or paste; and pictures from magazines, newspapers, or calendars.
3. Working as a group, plan how to use these materials to express your
message about your chosen social issue.
4. Assign a task to each group member, then create your artwork
together. (Note: Remember that expressionism made use of very
strong images and colors, and expressed deep emotions.)
99
5. Decide on a title for your group artwork.

6. Present your finished artwork to the rest of the class.
7. Join in the discussion about the social message of each group’s
artwork.
8. Comment on how each group effectively used the characteristics
of expressionism (through the elements and principles of art) to
convey this social message.
Have the class answer the What to Understand questions on page 213 of
the Arts Grade 10 Learner’s Materials:
1. How was expressionist art an outgrowth of life in modern society?

2. Were all surrealist artworks gloomy? Support your answer.
3. Which among the forms of expressionism (fauvism, dadaism,
surrealism, social realism) appeals to you the most? And which does
not appeal to you at all? Explain why.
4. Expressionism in Philippine art – Research online for works by
Filipino artists who used variations of this style (e.g., Cesar Legaspi).
Give your personal reaction to these.
E. WHAT TO PERFORM
used.
quarter.
IV. GENERALIZATION
Expressionism is a movement of modern art that began in Europe in the early

1900s. It was more concerned with emotional impact, rather than realism. To do
this, it made use of distorted outlines, strong colors, and exaggerated forms.
100
Expressionism has several sub-movements, namely: neoprimitivism, fauvism,

dadaism, surrealism, and social realism. The Spanish painter Pablo Picasso was
one of the foremost figures in expressionist art, along with Henri Matisse,
Salvador Dali, Paul Klee, and Joan Miro.
V. SUMMATIVE TEST
discussed:
1. Give a brief definition of the modern art movement called expressionism.
2. When and where did it begin?
3. Name three expressionist artists that you learned about in this session.
4. Name the five sub-movements of expressionism.
5. Describe the distinct characteristics of each sub-movement in terms of how it
made use of the elements and principles of art.
Quarter I - Sessions 4 and 5

ABSTRACTIONISM
I. SUBJECT MATTER
A. Topic: Abstractionism
 cubism
 futurism
 mechanical style
 nonobjectivism
B. Materials: Photograph of Pablo Picasso (optional)

Sample “abstract artwork” (teacher-made from a magazine
photograph cut into segments and creatively re-assembled)
Colored reproduction(s) of any abstract artwork(s)
For art project 1: magazine, oslo paper, scissors, glue/paste
For art project 2: ¼ cartolina or box board; scissors;
masking tape; acrylic, poster paints,
or any available paints; #8 round brush

Pages 208 - 211
101
II. PRE-ASSESSMENT
experienced concerning abstractionism:
1. What ideas come to mind when you hear the term “abstract art”?
2. In your opinion, what does an abstract artwork look like?
3. Do you know the name of any abstract artist—foreign or Filipino?
4. Have you heard of the artistic style known as “cubism”? If yes, why do
think it was named in this way?
5. Have you heard of Pablo Picasso? What country did he come from? What
artistic style is he most famous for?
6. Would you like to own an abstract artwork? Why or why not?
III. ACTIVITIES
A. PRESENTATION OF THE TOPIC [Session 4]
1. Show the teacher-made abstract artwork. Ask the students to identify

the image they see in it.
2. Have them explain what makes it possible for them to still identify the
image, even if it has been assembled in a mis-aligned way.
3. Have them turn to pages 208 to 211 of the Arts Grade 10 Learner’s
Materials and read about the art movement known as abstractionism.
4. Based on their reading, ask the students explain how abstract art is
similar to expressionist art; and how it is different from expressionist
art.
5. Ask the students to count off “1-2-3-4.” Have all those who counted
“1” group together; those who counted “2” group together; and so on.
Assign each group one of the sub-movements of abstractionism:
a) cubism
b) futurism
c) mechanical style
d) nonobjectivism
6. Challenge each group to think of a creative way of explaining the

characteristics of each sub-movement based on the root word of its
name:
a) “cube” for cubism
b) “future” for futurism
c) “machine” for mechanical style
d) “not objective” for nonobjectivism
102
7. Have each group support their explanation with a sample artwork from
the Arts Grade 10 Learner’s Materials, pages 208 - 211.
B. WHAT TO KNOW
1. Explain the difference between expressionism and abstractionism.

2. How did the cubists give a sense of dynamism and energy to their
works?
3. Who is considered the most famous abstractionist and cubist artist?
4. Describe how each of the following styles reflected modern life:
a) futurism
b) mechanical style
c) nonobjectivism
Have the class do the “What to Process” activities on pages 212 to 213 of
the Arts Grade 10 Learner’s Materials. Divide the class into Groups A, B,
C, D, E, and F with approximately 6 to 7 students each.
Groups A, B, C: Create a “ Picasso”

1. Review the description of Picasso’s cubist style.
2. Based on this, plan a cubist artwork for your group to create.
3. Prepare a magazine, assorted photographs, 1 sheet of oslo paper,
scissors, and glue or paste.
4. Select a large photograph from the magazine and/or the other photos,
and cut these up into segments of different shapes and sizes.
5. Glue or paste the segments on the oslo paper in a creative way, but with
the image still recognizable.
6. Give your cubist artwork a title.
7. Display it in front of the class, together with the works of the other
groups.
8. Join your classmates in giving personal reactions to each other’s work.
Group D, E, F: Create a “ Mondrian”

1. Review the description of Mondrian’s style of painting.
2. Based on this, plan a non-objectivist artwork for your group to create.
3. Prepare ¼ sheet of cartolina; masking tape; scissors; a #8 round
103
paintbrush; and acrylic, poster, or any available paints in primary colors,

black, and white.
4. Use the tape to mask off strips and spaces on the board.
5. Paint the exposed areas using your chosen colors. Wait for the paint to
dry.
6. Continue masking and painting, overlapping strips of color to create a
Mondrian effect, until you have completed your artwork. (Note: Allow
the paint to dry thoroughly between applications before laying the
masking tape to avoid destroying your design.)
7. Give your painting a title. Display it in front of the class, together with
the works of the other groups.
8. Join your classmates in giving personal reactions to each other’s works.
Abstractionism
1. Which form of abstractionism do you find most striking, and why?
2. Do you consider action painting, color field painting, and
pictographic painting true art? Why or why not?
3. Abstractionism in Philippine art – Research online for works by
Filipino artists who used variations of this style (e.g., Arturo Luz,
Jose Joya, and others). Give your personal reaction to these.
Cubism
4. Recall the message expressed in the painting Guernica by Picasso.
Study the details that he incorporated to convey that message.
5. Do you think his technique was effective? Why or why not?
6. How does the painting make you feel?
7. Cubism in Philippine art – Research online for works by Filipino
artists who used variations of this style (e.g., Vicente Manansala and
others). Give your personal reaction to these.
E. WHAT TO PERFORM
104
used.
quarter.
IV. GENERALIZATION
Abstractionism was another movement of modern art in Europe in the early

1900s. While expressionism was emotional, abstractionism was logical and
rational. It reduced an image into geometrical shapes, patterns, lines, angles,
textures, and fields or strokes of color—in effect, the elements of art.
Abstractionism has several sub-movements, namely: cubism, futurism,

mechanical style, and nonobjectivism. Pablo Picasso is one of the foremost
figures in abstract art, along with Fernand Leger and Piet Mondrian.
V. SUMMATIVE TEST
discussed:
1. Give a brief definition of the modern art movement called abstractionism.
2. Who is the renowned Spanish artist who spanned both expressionist and
abstract art?
3. Name the four sub-movements of expressionism.
4. Describe the distinct characteristics of each sub-movement.
5. Who is the artist known for the mechanical style?
6. Who is the artist known for the nonobjectivist style?
Quarter I - Session 6
ABSTRACT EXPRESSIONISM, POP ART, OP ART
I. SUBJECT MATTER
A. Topic: Abstract Expressionism, Pop Art, Op Art


New York School (action painting, color field painting)

neodadaism and pop art

conceptual art

op art
105
B. Materials: World map (optional)

Sample “melted crayon” artwork
Colored reproduction(s) of any artwork(s) of this period
For action painting:

1 whole cartolina or 1 whole box board, acrylic paints,
1-inch paintbrushes, sponges, rags, popsicle sticks
For color field painting:
1 whole cartolina or 1 whole box board; acrylic, poster
paints or any available paints; #8 round brush (for
outlines), sponges, rags
For pop art:
1 whole cartolina or 1 whole box board, colored
magazines, scissors, glue or paste, coloring materials,
#8 round brush or sponges

Pages 214 - 219
II. PRE-ASSESSMENT
experienced concerning pop art and/or op art:
1. Have you heard of the terms “pop art” and “op art”?
2. If yes, briefly describe what you know about each of these styles.
3. If not, what do you think the names of these styles refer to?
4. Can you name any well-known artists using these styles?
5. Can you guess what types of subjects these styles depicted?
III. ACTIVITIES
1. Show the world map (if available) and ask student volunteers to point
to the countries where the modern art movements of the early 20th
century were found: France, Spain, Germany, and Italy.
2. Ask another student volunteer to locate New York City on the map.
3. Point out to the class that this traces the “migration” of the modern art
movements from Europe to North America in the mid-1900s.
106
4. Have the students turn to pages 214 to 219 of the Arts Grade 10
Learner’s Materials, and read about abstract expressionism, pop art,
and op art.
5. Based on their reading, ask the students to describe the art movement
that came to be known as “The New York School.”
6. Present the sample melted crayon artwork (a project that is common
in elementary school Art classes). Have the students describe how
such an artwork is made.
7. Ask them to compare this with the action painting style of American
artist, Jackson Pollock, as seen in the Learner’s Materials.
8. Call on students to describe the different styles and characteristics of
the various movements that arose in American modern art:
a) action painting
b) color field painting
c) neodadaism and pop art
d) conceptual art
e) op art
9. Have them support their descriptions with the sample artworks in the
Learner’s Materials, pages 214 - 219.
B. WHAT TO KNOW
Abstract Expressionism: Action Painting, Color Field Painting

1. What were two of the art movements that emerged from The New
York School?
2. Why were action painting and color field painting given these names?
3. Who was the artist who became famous for his action painting style?
4. Describe how the elements and principles of art were used in the
unique techniques and approaches of these movements.
Conceptual Art, Neodadaism, Pop Art, Op Art

5. What is conceptual art? How is it unlike any other art movement before
it?
6. How was neodadaism different from the earlier dadaism movement?
7. From where did pop art draw its subjects?
8. Name the foremost artists of the pop art movement.
9. Explain how the elements of art were used to create the special
technical effect in op art.
107
C. WHAT TO PROCESS
the Arts Grade 10 Learning Materials.
Group Projects: “My Own Modern Art”

Divide the class into six groups, and assign the art styles as follows:
Groups 1 and 4 - Action painting
Groups 2 and 5 - Color field painting
Groups 3 and 6 - Pop art
Instruct the groups to follow their respective procedures below:
Procedure for Action Painting
1. Prepare your materials – 1 whole cartolina, box board, or other recycled

board; acrylic paints; 1-inch paintbrushes, sponges, or popsicle sticks;
recycled mixing plates; small rags for cleaning up; newspaper for
covering work surface.
2. As a group, discuss the overall composition and technique that you will
use.
3. Select desired colors of paint and apply these to the board using actions
such as brushing, sprinkling, dripping, and flicking. Let the paint dry.
4. Decide on a title for your group painting and display it in the classroom.
5. Be ready to explain the “action painting” techniques that you used and
to exchange comments with the other groups about their works. In
what ways are they the same? In what ways are they different?
Procedure for Color Field Painting: Pictograph Approach
1. Prepare your materials – 1 whole cartolina or 1 whole box board;

acrylic, poster, or any available paints in primary colors, black, and
white; #8 paintbrushes; small rags for cleaning up.
2. As a group, plan the overall composition and technique that you will
use. Select colors of paint similar to those used by color field artists,
and plan how these will be arranged in your artwork.
3. Use the #8 brush to paint small picture fragments or symbols in a
108
repeating pattern on the entire cartolina or board. Let the paint dry.
4. Decide on a title for your group painting and display it in the classroom.
5. Be ready to explain the pictograph approach that you used and to

exchange comments with the other groups about their works.
Procedure for Pop Art
1. Prepare your materials – 1 whole cartolina or 1 whole box board; old

colored magazines, newspapers, or calendars; scissors; glue or paste;
watercolors, acrylic paints, poster colors, crayons, or pastels; #8
paintbrushes and/or sponges.
2. Select a “popular” subject for your artwork (e.g., a product, celebrity,

movie or television character, sport, place, brand name, etc.). Plan
how this will be depicted using your available materials.
3. Cut out images, letters, etc. from the magazines, newspapers, or

calendars, and glue or paste them on the cartolina or board. Color the
surrounding background with watercolors, poster colors, or any
available paints. You may add details with crayons or pastels.
4. Decide on a title for your group artwork and display it in the classroom.
5. Be ready to explain the pop art style and techniques that you used
(e.g., inspired by Andy Warhol, Roy Lichtenstein, etc.) and to
exchange comments with the other groups about their works.
1. Explain the shift of the center of art from Europe to the United States
in the mid-1900s. What political, economic, or social conditions
caused this shift?
2. Was modern art readily accepted as “true art”? Why or why not?
3. How did the U.S. involvement in modern art eventually influence
Philippine art? What historical developments allowed this to happen?
4. Can you name any Filipino artists who used or are using any of these
modernist styles?
5. Do these styles appeal to you? Explain why or why not.
109
F. WHAT TO PERFORM
used.
quarter.
IV. GENERALIZATION
By the mid-1900s, the center of Modern Art moved from Europe to America.
Daring American artists came up with their own synthesis of Europe’s cubism
and surrealism, known as abstract expressionism.
The U.S. modern art movement has several sub-movements, namely: the New
York School (which included action painting and color field painting),
neodadaism, pop art, conceptual art, and op art. The foremost figure in early
U.S. modern art is Jackson Pollock.
V. SUMMATIVE TEST
discussed:
1. Where did the center of modern art move to from Europe?

2. When did this take place?
3. Name the sub-movements of American modern art.
4. Briefly describe the characteristics of each.
5. Name the American artist known for his action painting.
6. Comment on why early American modern art was not easily understood or
accepted by the general public.
110
INSTALLATION AND PERFORMANCE ART
I. SUBJECT MATTER
A. Topic: Installation and Performance Art
B. Materials: Colored photographs of installation art and

performance art
For installation art project: various art materials

(as decided upon by the students), found objects, etc.

Pages 223 - 228
II. PRE-ASSESSMENT
experienced concerning installation art and performance art:
1. Do you know what installation art is?

2. Have you ever seen an actual example of this type of art? If yes, what was
it? Briefly describe it.
3. Do you know what performance art is?
4. Have you ever witnessed or watched such a form of art? If yes, what was
your reaction to it and why?
III. ACTIVITIES
A. PRESENTING THE TOPIC
Ask the students if they have ever “walked through” an artwork. Explain
that the “installation art” they will encounter in this lesson allows just that.
Explain that the other form, called “performance art,” again makes use of
the human body, gestures, and sounds to convey its message.
Installation art
1. Show the photograph of installation art (if available) or refer to the
examples in the Learner’s Materials.
111
2. Ask the students to show how the elements and principles of art are
applied in these works and to identify the unique materials used, the
location, etc.
3. Have them interpret the themes or messages being expressed by
these artworks and give their personal comments and reactions.
Performance art
1. Select five students at random and secretly instruct them to plan a
one-minute, no-dialogue presentation on “Alas Singko Na: Rush
Hour!” (Example: five people waiting in a jeepney line, anxious to
get a ride.)
2. Give them only five minutes to confer, and then have them make
their presentation.
3. Afterwards, ask the rest of the class to interpret the theme of the
presentation and to give their reactions.
4. Have them comment on whether or not it would qualify as
“performance art,” as they now understand it.
5. Ask them to describe the characteristics of performance art.
6. Facilitate a discussion among the students about how these two art
forms could serve as:
a) forms of communication in the modern era
b) forms of commentary on current issues and concerns.
B. WHAT TO KNOW
Installation Art
1. What are the distinct characteristics of installation art?
2. Why is it called “installation”?
3. In general, what do installation artists express in their works? Cite 2
examples from the Learner’s Material.
4. Aside from the traditional mediums and materials, what new elements
can installation artists incorporate in their works?
5. What are some unique ways that the viewer can get to experience a
piece of installation art?
Performance Art
1. What are different names for performance art?
2. How do these point to the distinct qualities of this form of art?
3. In what decade did this art form emerge?
4. As distinct from traditional art forms, what or who serves as the
medium in performance art? Explain briefly.
112
5. Give examples of places where performance art takes place.
C. WHAT TO PROCESS
the Arts Grade 10 Learner’s Materials.
Divide the class into four groups. Groups A and B will create an
installation artwork. Groups C and D will present performance art.
Groups A and B: Installation Art

Give the group members the following instructions:
1. The group members will brainstorm on the concept of an installation
work to be constructed within the school grounds.
2. As a group, gather creative and innovative materials for the planned
installation and bring these to your chosen work area.
3. Together, assemble the materials to construct your installation.
4. Give the work a thought-provoking title and label it accordingly.
5. All the groups will then take a tour of the installations created by the
others.
6. Hold a discussion on how the finished works made the class members
feel and think; and whether they consider these good examples of
installation art or not.
Groups C and D: Performance Art

Give the group members the following instructions:
1. The group members will brainstorm on the concept of a performance
art presentation.
2. As a group, agree on the place, equipment, costumes, and props (if
any) for your presentation.
3. Assign roles/tasks to each group member, as performers, production
crew, etc.
4. At the assigned time, the two groups will perform in front of the class.
5. Hold a discussion on how the performance art presentations made the
class members feel and think; and whether they consider these good
examples of performance art or not.
113
1. Do installation art and performance art exemplify the qualities of
modern art? If yes, in what ways do they do so?
2. Do art forms like these serve a purpose in today’s world? Explain your
opinion.
3. Select two examples of installation art in the Learner’s Materials and
describe your reaction to it—whether positive or negative, or a bit of
both.
4. Do you think you would enjoy experiencing performance art? Why or
why not?
5. Compare your former views on what art is with what you now see in
installation art and performance art. Have your views changed? In
what way?
IV. GENERALIZATION
Installation art is a modern art form that generally produces works large
enough for the viewers to interact with (e.g., walk through, touch objects, feel
textures, hear sounds, see lights and motion, etc.). It can be located indoors or
outdoors, and makes unique and innovative use of everyday objects and
materials.
Performance art is a form in which the actions of a person or group of persons

in a particular place and at a particular time constitute the work. This may take
place in a public or private place, indoors or outdoors. It may last a few minutes
or several hours. The production may be very bare or very lavish.
Both of these modern art forms seek to capture the viewers’/audience’s

attention, make a statement, convey a message in unconventional, sometimes
humorous, occasionally shocking ways.
V. SUMMATIVE TEST
discussed:
1. Describe the distinctive characteristics of installation art.

2. Describe the distinctive characteristics of performance art.
3. Aside from the artistic aspect, what other purposes can such art forms be
used for?
4. Explain why both these art forms reflect the spirit of the modern era.
114
CULMINATING ACTIVITY FOR QUARTER I:
“AN EXHIBIT OF MODERN ART”
This last session for the Quarter will be devoted to having the students stage “An
Exhibit of Modern Art” presenting the following categories:
1. Impressionism
2. Expressionism
3. Abstractionism, Pop art, Op art
4. Installation art
5. Performance art
The students will be assigned to select from among their own works, as well as source
photos, magazine or calendar cutouts, Internet images, etc. of at least 2 to 3
representative artworks each for the above categories.
Each artwork will be accompanied by a card briefly describing the work and the
historical and cultural context of the category it belongs to:
Title (if known) __________________________________________
Artist (if known) __________________________________________
Artistic style and medium used ______________________________
Year or period of the work’s creation ________________________
Prevailing historical events at that time _______________________
_______________________________________________________
Prevailing cultural and social environment at that time ___________
_______________________________________________________
Have the students invite the school Administration, other faculty members, and their
schoolmates to visit the exhibit. They should be prepared to explain the works and
how these present the characteristics of different movements and styles of modern art.
115
Critique of the Exhibit
As a form of self-evaluation, have the students rate the culminating exhibit using the
format below:
“An Exhibit on Modern Art”

Evaluation Form
Criteria Very Good Good Fair Poor
Selection of artworks to exhibit

(theme and message)
Completeness of exhibit
Presentation
(display, mounting, and
labelling of works)
Assignment of tasks
Cooperation among students
Response of exhibit visitors
116
Quarter II: TECHNOLOGY-BASED ART
CONTENT STANDARDS

1. new technologies that allow new expressions in the arts using art elements and
processes.
The learner…
1. creates a tech-based artwork (video clips and printed media such as posters,
menus, brochures, etc.) relating to a selected topic from the different learning
areas using available technologies, e.g., food and fashion.
The learner…
1. identifies art elements in the technology-based production arts.
2. identifies distinct characteristics of arts during the 21st century in terms of:
- production
- functionality / range of audience reach.
3. identifies artworks produced by technology from other countries and their
adaptation by Philippine artists.
4. realizes that technology is an effective and vibrant tool for empowering a person
to express his/her ideas, goals, and advocacies, which elicits immediate action.
5. determines the role or function of artworks by evaluating their utilization and
6. uses artworks to derive the traditions/history of a community (e.g., landscapes,
images of people at work and play, portrait studies, etc.).
7. compares the characteristics of artworks in the 21st century.
8. creates artworks that can be locally assembled with local materials, guided by
21st century techniques.
9. describes the influence of technology in the 21st century on the evolution of
various forms of art.
experiences, and stories showing the characteristics of 21st century art (e.g., the
use of graphic software like Photoshop, InDesign, etc.).
11. evaluates works of art in terms of artistic concepts and ideas using criteria
appropriate for the style or form.
12. mounts an exhibit of completed technology-based artworks.
117
Quarter II – Sessions 1 and 2

COMPUTER / DIGITAL ART: COMPUTER-GENERATED ARTWORKS
I. SUBJECT MATTER
A. Topic: Computer / Digital Arts

 definition and description of computer/digital arts
 examples of computer-generated artworks by foreign
and Philippine artists
B. Materials: Samples of computer-generated artworks in everyday life

(e.g., posters, book/magazine covers, brochures,
advertisements, etc.)

Pages 232-239
II. PRE-ASSESSMENT [Session 1]
experienced concerning computer / digital arts:
1. What forms of art are you familiar with? (e.g., painting, sketching,
sculpture, silk-screen)
2. Have you heard of computer art? If yes, can you give some examples?
3. [Showing the sample posters, book/magazine covers, etc.] Would you be
able to identify these samples as traditional art or computer art? Explain
how.
4. Can you give a brief definition of what computer art is?
5. Do you have any experience with using the computer? If yes, what
device(s) have you used?
6. What computer software do you use?
7. For what purposes do you use these?
8. Have you ever tried creating art with a computer? If so, what did you create
and how did you create it?
III. ORIENTATION ON QUARTER II CULMINATING EXHIBIT
1. Explain to the students that the culminating activity for Quarter II will be
an Exhibit of Technology-Based Arts.
118
Quarter II: Technology-based Art
of Quarter II will be labelled for proper curating and will be turned over to
[Note to the teacher: If time is too limited, the culminating exhibits for BOTH
Quarters II and III can be presented AT THE END OF QUARTER III instead –
since the forms of art presented in the two quarters are related.]
IV. ACTIVITIES
1. Have the class turn to pages 232-236 of the Arts Grade 10 Learner’s
Materials, and look over the examples of digital art presented.
2. Ask them what their general impression of these artworks is, and have
them explain their opinions.
3. Ask them what common characteristic(s) they notice in these works,
and to point out these characteristics to support their observation.
B. WHAT TO KNOW
Have the class answer the What to Know questions on page 236 of the Arts
Grade 10 Learner’s Materials:
1. Briefly describe how technology made—and continues to make—

digital art possible.
2. Was digital art readily accepted and recognized as “true art” when it
emerged in the 1960s? Why or why not?
3. What devices can now be used to create digital art? Do you own one
such device?
4. Name one or two computer programs that can enable you to create an
original illustration from scratch.
Have the students do the following What to Process activity on page 237 of
119
Digital Image Creation
1. If you have access to a computer drawing program, such as Adobe

Illustrator or its less complex counterparts, create an original artwork
that will be incorporated into a group project for the culminating
exhibit for Quarter II.
2. If a drawing program is not available, capture an image instead using a

digital camera, a DSLR camera, a tablet, or an android/mobile phone.
3. Store the finished illustration or image in a device that contains an

image editing program, similar to these:
 Gimp (GNU Image Manipulation Program)
 Paint.net
 Inkscape
 Xara Extreme
 Artweaver
 Draw Plus
 Pencil
 Picasa
 Paint Star
 Smooth Draw
 Spray
 Karbon
 Adobe Photoshop Express
 Corel PaintShop Pro X5
4. The stored illustration or image will be manipulated using any of these

editing programs, in a later session on Computer Generated Images
(see page 240 of the Arts Grade 10 Learner’s Materials).
Have the class answer the What to Understand questions on pages 237-
238 of the Arts Grade 10 Learner’s Materials:
1. Research online for the works of any two of the following digital
artists who were at the forefront of this field in the early 1960s:
James Faure Walker Geroge Grie
Manfred Mohr Olga Kisseleva
Ronald Davis John Landsdown
Joseph Nechvatal Perry Welman
Matthias Broegel Jean-Pierre Hebert
120
Select one artwork each by the artists that you have chosen. Give the
basic details of each (title of work, name of artist, technique used, year
created). Briefly explain how the following principles of art are
incorporated or expressed in these particular works:
 Rhythm, Movement
 Balance
 Emphasis
 Harmony, Unity, and Variety
 Proportion
2. Then write a brief personal reaction that you have to the works you
chose—whether positive or negative. Explain your opinion.
3. Was there a difference in how Filipino artists first ventured into the
world of digital art? If yes, explain briefly.
4. Research online for three Filipino artists using digital techniques for
their works. Compare and contrast their works with the examples of
digital art by foreign artists in the Arts Grade 10 Learner’s Materials.
5. As a young citizen of the Philippines and of the world, how do you

feel about the pervasiveness of digital technology in
a) art (digital illustration, digital photography, digital videos)?
b) media?
c) entertainment / gaming?
d) education?
e) communication?
6. How do you personally make use of digital technology in each of the

above areas?
7. Specifically in the area of art (digital illustration, photography,

videos), what “artworks” are you able to create with the help of the
available technology? Cite at least 5 examples.
8. Do you find yourself exposed to or involved in using digital devices

and applications in most aspects of your life? What are the benefits?
What are the risks or dangers?
121
E. WHAT TO PERFORM
Preparing for the Culminating “Exhibit of Technology-Based Art”
Having presented the concept and techniques of computer/digital art, guide the
students in planning how to prepare their artworks for the culminating exhibit
at the end of the quarter.
1. All the finished artworks will have to be labelled with original titles, the
used.
2. As the Arts teacher, you will store the finished artworks for inclusion in
the exhibit at the end of the quarter.
V. GENERALIZATION
Computer/digital arts make use of electronic and mechanical devices, rather

than the artist’s own hand, to produce the desired images and effects. Thus,
these are definitely a technology-based art form. As a result, there is a strong
scientific or mathematical look and feel to the creations of many digital
artists—with geometric forms and repeating patterns appearing frequently.
While such works were not initially viewed as a true art form, they have since
been widely accepted and have become a major art genre on their own.
VI. SUMMATIVE TEST
discussed:
1. What is computer or digital art?

2. When did it start to develop?
3. From what non-artistic profession did the early computer “artists” come
from?
4. Name three distinct characteristics of computer/digital art?
5. What was the initial reaction of the public to this new type of art?
6. What were some signs of the eventual acceptance of computer art as true
art?
7. Did this form of modern art reach the Philippines?
8. What is the status of computer art in the modern art scene today?
122

MOBILE PHONE ART / COMPUTER-GENERATED IMAGES
I. SUBJECT MATTER
A. Topic: Mobile Phone Art / Computer-generated Images

 Creating art using image manipulation programs on
mobile or android phones
 Creating art using image capture and manipulation
programs on computers, laptops, and tablets
B. Materials: Sample images (teacher-made and/or student-made) created

using mobile phones and/or computers, laptops, or tablets
Any available android phones, laptops, or tablets

Pages 239-246
experienced concerning mobile phone art and computer-generated images:
1. Do you own a personal mobile phone or android phone? If so, does it have
a camera for capturing images?
2. Have you experienced taking photos with your mobile phone? If so, what
types of photos do you usually take?
3. Have you tried to modify those images in some way? What program(s) or
application(s) did you use?
4. Have you created original artworks from scratch on a computer, laptop, or
tablet? If so, what kind of artworks were these?
5. What program(s) did you use to create them?
III. ACTIVITIES
Materials, and look over the examples of cellular phone art presented.
2. Ask them if any of these images and their modified versions are
similar to ones they have made themselves.
123
3. Ask what other image modifications and effects, aside from those
shown, they have done themselves. Have them relate their experiences
using different applications for these.
4. Have them also go over the section on computer-generated images,
page 244 in the Arts Grade 10 Learner’s Materials.
5. Ask them what computer programs are used to create such images.
B. WHAT TO KNOW
Have the class answer the What to Know questions on pages 244-245 of
1. What is mobile phone art?

2. What technology has made this possible?
3. What is the raw material or starting point for creating an artwork on a
mobile phone?
4. How is this initial material then transformed into an original piece of
art?
5. Name some programs and/or applications that can be used to create art
on a mobile phone?
6. Aside from using mobile phone software, what is another means of
creating art from scratch using computer technology?
7. What is the raw material or starting point for creating an artwork on a
computer?
8. How is this initial material then transformed into an original piece of
art using a computer?
9. Name some computer programs that are designed for this purpose?
Creating Mobile Art / Computer-generated Art
Have the students do the following What to Process activity on page 244 of
1. Depending on the devices available to you, you may either:

a. Capture an image using your mobile phone camera
b. Create an image from scratch using a drawing/illustration program
on a computer, laptop, or tablet
2. Save your captured image or finished illustration in preparation for

transforming it into an example of mobile phone art or computer-
generated art.
124
[Note to the teacher: Recommend to the students to refer to any

applicable modules of Technology Livelihood Education (TLE) for
detailed instructions on what programs to use, and how to use them.]
3. Using any of the applications installed in your available device(s),

experiment with different effects and features to modify your saved
image or illustration. You may try some of the following effects, as
well as others offered by the application(s) you are using:
 re-size
 crop
 skew / warp
 rotate
 flip
 adjust brightness
 adjust sharpness
 change colors
 gray scale
 sepia tone
 apply a texture
 superimpose text, trying different fonts
 apply frames, borders, or banners
 edit out an element that you do not want to appear
 add an element that is not in the original image
4. Save the most unique, striking, or remarkable modified images to be

printed out later for inclusion in the culminating Exhibit on
Technology-based Art.
1. Mobile phone art is a technology-based art form. Support this

statement with your own brief explanation.
2. Do you consider the products of such mobile phone applications as
true art? Why or why not?
3. Did you feel like an artist while capturing and modifying your mobile
phone image? Describe the experience.
4. In the case of rendering and modifying an original computer
illustration, do you consider this as true art? Why or why not?
125
5. Describe your experience, if you used this technique to create a

computer-generated artwork.
E. WHAT TO PERFORM
Preparing for the Culminating “Exhibit of Technology-Based Art”
Having presented the concept and techniques of mobile phone art and
computer-generated images, guide the students in planning how to prepare
their artworks for the culminating exhibit at the end of the quarter.
used.
IV. GENERALIZATION
Mobile phone art is a form of modern art that emerged due to the available
technology on mobile phones with built-in cameras that could capture and store
images. This further evolved dramatically with the development of android
phones that can now use image editing applications to modify and manipulate
the captured images right on the phone unit itself.
Meanwhile, computer-generated images are those that are created from

scratch using drawing or illustration software on desktop computers, laptops,
and tablets. These can then be modified and manipulated as well, using image
editing programs for these devices.
V. SUMMATIVE TEST
discussed:
1. What is mobile phone art?

2. How did technology allow this form of art to develop?
3. What type of device(s) can be used to create mobile phone art?
4. Name three applications that can modify and manipulate images into a
piece of art.
5. Who can create this new type of art?
6. What are computer-generated images?
7. How do these differ from mobile phone art?
126
8. What types of device(s) can be used to create computer-generated

images?
9. Name two programs that allow the user to render an illustration from
scratch.
10. How can these illustrations be modified to create works of computer-
generated art?

DIGITAL PHOTOGRAPHY: DSLR and Point-and-Shoot
I. SUBJECT MATTER
A. Topic: Digital Photography

 DSLR photography
 Point-and-shoot photography
B. Materials: DSLR camera (if available)

Point-and-shoot digital camera (if available)
For pinhole camera: shoebox or similar lidded box,

black paint if box is colored or printed, small piece of sheet
metal, large needle, X-acto knife, sandpaper, light-sensitive
photo paper, tape
(1 set of these materials for each group to be formed)

Pages 246-250
experienced concerning digital photography:
1. How do you take pictures for your own personal use and enjoyment?
2. What device(s) do you use – your mobile phone, digital camera, or tablet?
3. If you use a digital camera, is it the type that does all the image adjustments
for you automatically?
4. Do you know what a DSLR camera is?
5. Have you ever tried using such a camera?
6. If yes, how did it differ from using a regular digital camera?
127
7. Have you taken photographs for purposes other than for just personal use
and enjoyment? If so, what were these for?
III. ACTIVITIES
Materials, and read the explanation of the very simple technology of
early photography.
2. Announce that they will be doing a simulation of that early form of
camera to better understand the principles behind it.
3. Have them then read the description of the two basic types of digital
photography available today: point-and-shoot and DSLR.
4. If available, show to the class actual examples of a digital camera and
a DSLR camera. Discuss the differences and similarities of the two.
B. WHAT TO KNOW
1. What is digital photography?

2. Briefly describe the basic technology behind the earliest cameras.
3. In place of the previous light-sensitive film, how are today’s digital
images captured and stored?
4. What are the two main types of digital photography in use today?
5. Why is one of them called point-and-shoot photography?
6. What does the acronym DSLR stand for?
7. Briefly cite two or three differences between these forms of digital
photography.
C. WHAT TO PROCESS
Have the students do the following What to Process activities on pages 248-
250 of the Arts Grade 10 Learner’s Materials.
Creating a “Pinhole Camera”
1. Divide the class into groups of 5 to 6 students each.

2. Have them prepare the materials listed for this project.
128
Note: To save time, the boxes should be painted completely black

beforehand.
3. Instruct them to follow the step-by-step procedure given in the Arts

Grade 10 Learner’s Materials. [Reference:
http://www.instructables.com/id/How-To-Make-A-Pinhole-Camera/]
4. Once the pinhole cameras are ready, have each group “take a photo” or
two using these devices they have created.
Taking Point-and-Shoot or DSLR Photos [Session 6]
1. Using any cameras available to the class members, have them follow
the instructions given in the Arts Grade 10 Learner’s Materials for
taking either point-and-shoot or DSLR photos.
2. The exposure to photography in Quarter II is more for the students to
become familiar with the process of using the cameras, and
understanding the underlying technology.
3. There will be separate group projects in Quarter III allowing the
students to take photos with an assigned or chosen theme, as potential
artworks for the culminating exhibit on Technology-based Arts.
4. For this session of Quarter II, let the students experiment and discuss
among themselves about the different photography techniques they are
experiencing.
Have the class answer the What to Understand questions on page 250 of the
1. What was the experience like creating your own pinhole camera and
being able to capture images using it?
2. What do you see as the advantages of digital photography as compared
to the earlier film-type photography?
3. What do you think of the view that film photography is more “artistic”
than digital photography? Support your opinion.
4. If you have experienced both regular digital photography and DSLR
photography, which one did you find more useful to you? More
doable? More interesting? Explain your answers.
5. What do you think of the way digital technology has made quality
photography accessible to everyone – including young people like
you?
129
E. WHAT TO PERFORM
Preparing for the Culminating “Exhibit of Technology-Based Arts”
Having presented the concept and techniques of digital photography, guide

the students in planning how to prepare their artworks for the culminating
exhibit at the end of the quarter.
used.
[Note: For Sessions 5 and 6, the artworks to be prepared will be the
photos taken using the “pinhole cameras” made by the students. In the
final exhibit, these will make an interesting contrast to the digital photos
they will take in Quarter III.]
IV. GENERALIZATION
Digital photography is a technology-based art that evolved from the earlier

type of photography that made use of the action of light on light-sensitive film
as manipulated by a user of a camera. In contrast, digital photography makes
use of devices that automatically set and adjust the needed elements (shutter
opening, shutter speed, flash lighting, zoom in/out, etc.) to ensure a good quality
image. It then stores these images on a storage device built into the camera for
future retrieval and modification, if desired.
The two basic types of digital photography are point-and-shoot and DSLR.
Point-and-shoot means that the camera pre-sets the needed elements so that the
user can literally just click away. The DSLR type enables the photographer to
still make his/her own judgments on how to set the device’s features to achieve
the desired image results.
V. SUMMATIVE TEST
discussed:
1. What is digital photography?
2. How does it differ from the traditional film-type of photography?
3. Briefly describe the elements of a pinhole camera.
130
4. What was the basic technology that allowed such a simple device to take
photos?
5. Cite one or two technological developments that made digital
photography possible.
6. What are the two basic types of digital photography?
7. Briefly describe point-and-shoot photography.
8. Briefly describe DSLR photography?
9. What elements of photo-taking are pre-set by a point-and-shoot camera?
10. Without film, how do digital cameras capture and store images?
Quarter II – Session 7
VIDEO GAMES / DIGITAL PAINTING / IMAGING VIDEOS
I. SUBJECT MATTER
A. Topic: Video Games / Digital Painting / Imaging Videos
B. Materials: Computer, laptop, or tablet (if available)

Software installed in the above devices for creating
video games and/or digital painting

Pages 251-254
II. PRE-ASSESSMENT
experienced concerning video games / digital painting / imaging videos:
1. Do you play video games?
2. What device(s) do you play them on? Your mobile phone? A tablet? A
laptop? A desktop computer?
3. What particular games do you like to play?
4. What features make you choose a particular game over others?
5. Is the visual appearance of the game important to you? Why or why not?
6. Have you experienced creating your own simple video games?
7. Have you taken videos of yourself and your friends/family? If so, what
device do you use for this?
8. Do you use any video editing software? If so, what kind?
9. Have your tried digital painting? If so, what software do you use?
10. Briefly explain what imaging videos are? In what areas of modern life are
these used? Have you experienced any of these yourself?
131
III. ACTIVITIES
Materials, and read the sections on: video games, digital painting, and
imaging videos.
2. Lead the students in a short discussion on how these different forms of
digital imaging are used in daily life.
B. WHAT TO KNOW
1. How has computer technology contributed to the development of

video games?
2. Name some of the most popular types of video games today.
3. On what kinds of devices can such games be played?
4. Can a young person like you create your own video game? If yes,
how?
5. What is digital painting?
6. Briefly describe the two different types of digital painting presented.
7. Briefly explain today’s video technology.
8. How do you use video technology personally? For school purposes?
9. How is it used in modern life?
10. What valuable purposes do “imaging videos” serve in the fields of
medicine and science?
C. WHAT TO PROCESS
Have the students do the following What to Process activities on page 253
of the Arts Grade 10 Learner’s Materials.
Group Projects: Video Games / Digital Painting
1. Divide the class into groups of 5-6 students each.
2. Assign half of the groups to create their own video games (using any
simple software that they have available or can download from the
internet for free); and the other half of the groups to create works of
digital painting.
132
3. Instruct them to follow the procedure given in the Learner’s Materials.

(Note: Due to time constraints, they will need to work on these group
projects outside of class hours.)
4. They will then save their finished video games or digital paintings in a
storage device that you will hold for safekeeping until the culminating
exhibit on Technology-based Arts.
Have the class answer the What to Understand questions on pages 253-254
of the Arts Grade 10 Learner’s Materials:
1. Compare your experience in creating your own simple video game

with that of your classmates creating a digital painting; or vice-versa.
2. Do you think that video games can be considered a form of modern
art? Why or why not?
3. Is digital painting as “artistic” as the traditional modes of painting?
Support your opinion.
4. Is there a value to imaging videos apart from the entertainment or even
documentation purposes of regular videos? Give some examples.
5. Discuss how this shows that technology can serve aesthetic and
practical—even vital—purposes in today’s world.
E. WHAT TO PERFORM
Preparing for the Culminating “Exhibit of Technology-Based Arts”
Having presented the concept and techniques of creating video games and
doing digital painting, guide the students in planning how to prepare their
artworks for the culminating exhibit at the end of the quarter.
used.
[Note: For the video games and digital paintings created in Session 7,
some form of device with a display capability will need to be prepared
prior to the culminating exhibit. This could be a desktop computer or a
laptop/tablet connected to a large monitor, if available within the school
or loaned from a student’s family.]
133
IV. GENERALIZATION
Video games, digital painting, and video imaging are advanced applications
of the digital technology available today for a wide range of purposes.
Video games are not only played and enjoyed by countless gamers all over the
world, they can also be developed by amateurs on a personal device using
available software. They now also involve extremely complex and realistic
graphics and animation techniques that may be considered a form of modern art.
Digital painting makes use of virtual tools on a computer to simulate the

canvas, brushes, paints, etc. used in traditional painting. The result is a work of
modern art created by “robot devices” controlled by a computer, or else entirely
virtual on an electronic device.
Video imaging is the application of video technology to serve not only

entertainment purposes, but even scientific, educational, and medical needs. We
see this in the form of CT scans, magnetic resonance imaging (MRI), and even
the ultrasound used to diagnose diseases and injuries – and to monitor a baby’s
development in the womb.
V. SUMMATIVE TEST
discussed:
1. What are some highly popular video games today?

2. How are such games a modern form of art?
3. Name one or two programs for creating your own video games.
4. What tools of traditional painting exist virtually in digital painting?
5. Is there a form of digital painting that still makes use of actual paints and
actual surfaces to apply the paints to? Describe it briefly.
6. Name two or three practical purposes served by imaging videos.
134
CULMINATING ACTIVITY: EXHIBIT OF TECHNOLOGY-BASED ARTS
The last session for Quarter II will be devoted to staging “An Exhibit of Technology-based
Arts” presenting the following categories:
1. Mobile Phone Art

2. Computer-generated Images
3. Digital Photography (Pinhole Camera, Point-and-Shoot, DSLR)
4. Video Games
5. Digital Painting
The students will select from among their own works created within Quarter II, as well as
source photos, magazine or calendar cutouts, Internet images, etc. of at least two to three
representative artworks each for the above categories.
Curating the Exhibit
Each artwork will be accompanied by a card briefly describing the work as follows:
For student-made artworks:
Title _________________________________________________
Artist/s _________________________________________________
Artistic style and medium used _______________________________
Date of creation ___________________________________________
For reproductions or images of known artworks:
Title _________________________________________________
Artist ____________________________________________________
Year or period of creation _____________________________________
135
Have the class members invite the school Administration, other faculty members, and
their schoolmates to visit the exhibit. Help them prepare to explain the works and
how these present the characteristics of different forms of technology-based art.
Critiquing the Exhibit
As a form of self-evaluation, guide the students in rating the culminating exhibit

using the format below:
“An Exhibit of Technology-based Arts”

Evaluation Form
Selection of artworks to exhibit

(theme and message)
Presentation
labelling of works)
Assignment of tasks
136
Quarter III: MEDIA-BASED ARTS AND DESIGN
IN THE PHILIPPINES
CONTENT STANDARDS

1. art elements and processes by synthesizing and applying prior knowledge and
skills.
2. new technologies that allow new expressions in the arts.
The learner…
1. creates artworks using available media and natural resources on local topics,
issues, and concerns such as environmental advocacies, ecotourism, and economic
and livelihood projects.
The learner…
1. identifies art elements in the various media-based arts in the Philippines.
2. identifies representative artists as well as distinct characteristics of media-based
arts and design in the Philippines.
3. realizes that Filipino ingenuity is distinct, exceptional, and on a par with global
standards.
4. determines the role or function of artworks by evaluating their utilization and
5. uses artworks to derive the traditions/history of a community.
6. creates artworks that can be assembled with local materials.
7. describes the characteristics of media-based arts and deign in the Philippines.
experiences, sand stories (the use of software to enhance/animate images like
Flash, Movie Maker, Dreamweaver, etc.).
9. evaluates works of art in terms of artistic concepts and ideas using criteria
appropriate for the style or form of media-based arts and design.
10. mounts a media-based exhibit of completed artworks.
137
Quarter III – Sessions 1 and 2

PHOTOGRAPHY
I. SUBJECT MATTER
A. Topic: Media-based Arts: Photography

 definition/description of photography
 the photographer as artist
 photography as communication
 noteworthy Philippine photographers
B. Materials: Sample camera (any kind available to the teacher)
Examples of different kinds of photographs by Filipino and

foreign photographers (colored and black and white; can be
from magazines, calendars, etc.)
For ‘What to Process’ activity: Any device available to the

students that can take photographs (digital camera, mobile
phone, android phone, tablet, etc.)

Pages 259-265
II. ORIENTATION ON QUARTER III CULMINATING EXHIBIT
1. Explain to the students that the culminating activity for Quarter III will be
an Exhibit of Media-based Arts and Design.
of Quarter III will be labelled for proper curating and will be turned over to
4. Special issue to consider: Given the accessibility and cost of many of the
digital devices, programs, and applications needed, the art pieces to be
exhibited will be a combination of student-made works and examples of
various commercially- and publicly-available media using digital arts.
[Note to the teacher: If time is too limited, the culminating exhibits for BOTH
Quarters II and III can be presented AT THE END OF QUARTER III instead –
since the forms of art presented in the two quarters are related.]
138
Quarter III: Media-based Arts and Design
III. PRE-ASSESSMENT [Session 1]
experienced concerning photography:
1. Recall your experience with making and using a pinhole camera in Quarter
II. What did you learn about the process of photography through that
experience?
2. Since then, have you tried using other kinds of photo-taking devices (your
mobile/android phone, tablet, digital ‘point and shoot’ camera, DSLR
camera)?
3. What observations do you have about using that particular device or more
than one of them?
4. Do you know of any famous Filipino photographers? If yes, name them.
5. How did you learn about these photographers?
IV. ACTIVITIES
A. PRESENTATION OF THE TOPIC (Session 1)
1. Present to the class the sample photographs by Filipino and foreign

photographers. Pass them around the classroom, so the students can
examine these more closely.
Materials, and ask them to read silently the sections on the
photographer as artist and on photography as communication.
3. Call on some students to point out how the sample photographs

exemplify some of the points discussed in these sections:
a) the artistic aspects of a photograph – giving specific details
b) the communication aspects of a photograph – giving specific
details
4. Review briefly with the class the elements and principles of art that
they have studied since the earlier grades:
a) elements of art – line, shape/form, space, color, value, texture
b) principles of art – balance, proportion, rhythm, emphasis, harmony
5. Call on some students to comment on how they see these elements and
principles in the sample photographs.
139
Materials, and ask them to read silently the section on noteworthy
Philippine photographers.
7. Ask them to comment on the photographs by George Tapan and John

K. Chua presented in the Learner’s Materials—the subjects, the style,
what appeals to them in the photographs.
B. WHAT TO KNOW
1. What two Greek words are the origins of the term “photography”?
What makes them fitting for this media-based art form?
2. How does technology contribute to the development of an art like
photography?
3. Why is photography truly a “modern” art form?
4. What special talents and skills does a photographer have that make
him or her an artist?
5. What qualities make photography such a powerful communication
tool?
6. Name some noteworthy Filipino photographers presented above, plus
others you may have researched on. Cite a distinctive achievement of
each.
7. What type of subjects seems to be among their favorites to
photograph?
8. Looking at the sample photographs shown, explain how the principles
of art (rhythm/movement, balance, emphasis, proportion, harmony,
unity, variety) are made use of by the photographer as an artist.
Have the class do the What to Process activities on page 264 of the Arts
Photography Group Project: “Images with a Message”
1. Prior to Session 2, ask the students to bring to class any available

device for taking photographs (point-and-shoot camera, DSLR camera,
mobile phone, android phone, tablet). Those who do not have their
own device may share with other classmates.
140
2. Divide the class into groups of 6 to 8 students. Each group will be

assigned a theme such as:
a) People/Personalities
b) Our School
c) Nature
d) Insights
e) Humor, etc.
(Note: The groups may also think of their own themes, if they wish.)
3. Together with their respective groups, the students will move around
the classroom and school grounds on their own time, taking
photographs according to their assigned/chosen theme. They will store
the best ones in their devices for group evaluation.
4. As a group, they will then select one photograph taken by each group
member that best captures the theme. If there are 8 group members,
there will be 8 selected photos.
5. Next, they will plan with their group how and where to have these
selected photos printed on letter-size paper (8½” x 11”). Then, these
will be turned over to you for safekeeping until they will be presented
in the culminating exhibit.
Have the class do the following What to Understand activity on page 265
“What’s In a Photo?”
1. Cut out three photographs from a magazine, calendar, poster, or

brochure—each expressing one of the following:
a) a commercial or business message
b) a social or political statement
c) artistic expression.
2. Label each of your photographs with a creative title, expressing the

particular purpose you think it has.
3. Bring them to class and be ready to explain the purpose of each.
4. Also be ready to discuss what role you believe photography plays in

modern life by carrying out such purposes.
141
E. WHAT TO PERFORM
Preparing for the Quarter III “Exhibit on Media-Based Arts and

Design”
Guide the students in preparing their photographs for the culminating exhibit
at the end of the quarter by labelling them with original titles, their group
members’ names, the date, and the device used.
V. GENERALIZATION
Photography is literally “light writing” from the Green words photos (meaning
light) and graphos (meaning writing). Images are recorded through light action
on light-sensitive materials—previously celluloid film, but today on digital
storage devices.
Through amazing developments in technology, photography has been able to

incorporate a vast array of special techniques and effects chosen and
manipulated by the photographer—making him or her an artist, in that sense.
And making the resulting photographs a modern form of art as well.
VI. SUMMATIVE TEST
discussed:
1. What two Greek words are the origins of the term “photography”?
2. Name three ways in which technology contributed to the development of
photography.
3. How is a photographer also an artist?
4. In what ways is photography a form of communication?
5. Name the two well-known Filipino photographers presented in these
sessions.
6. Name others you may have discovered through your research.
142

FILM
I. SUBJECT MATTER
A. Topic: Media-based Arts: Film

 film as a technology-driven art form
 the collaborative art of filmmaking
 characteristics of the film medium
 the different film genres
 noteworthy Philippine filmmakers
B. Materials: 20 DVD jackets (or teacher-made flash cards) showing

titles of popular films that the students would be familiar
with, representing various genres of movies
Sample Philippine film on DVD (preferably by one of the

directors presented in the Learning Materials)
Sample American or foreign film on DVD
DVD player and television; or a laptop with a larger

external monitor

Pages 265-273
experienced concerning film:
1. How often do you watch films?

2. Do you watch more foreign films or more Filipino films?
3. Do you go to a movie house or watch on DVD or via a downloaded film?
4. What types of movies do you most enjoy watching, and why?
5. Do you know any famous Filipino filmmakers? Name them and the titles of
their films that you have watched.
6. Recall the short videos you created in Quarter II. How do you think that
experience compares with the process involved in actual filmmaking?
143
III. ACTIVITIES
1. Have student-volunteers present to the class the original short videos

they had made in Quarter II. They may use the laptop and monitor set
up in the classroom for this lesson, if available.
2. Ask the other students to give their comments on the videos shown.
Materials. Ask volunteers to briefly explain how filmmaking is a
technology-driven art—advancing from still photography to moving
pictures.
4. Next, call on some students to explain how filmmaking is a

collaborative art. Who are the different members of the film
production team? What are their specific roles and responsibilities in
creating a film?
5. Ask the students if they can imagine themselves in any of these roles
in a film production? What role would this be and why?
6. Bring out the sample DVD jackets or teacher-made flash cards. Hold
them up in random order for the class to see and to identify to what
particular film genre each one belongs.
7. Have the class read through pages 269-271 of the Arts Grade 10
Learner’s Materials, presenting well-known Filipino filmmakers.
Ask them if they have seen any films by these directors, and what their
opinions of these films are and why.
B. WHAT TO KNOW
1. Why is film making considered a true modern art form?

2. Explain how the following technological advances contributed to the
evolution of filmmaking:
a) celluloid strip film
b) lighter cameras
c) sound
d) color
e) computer animation and special effects
144
3. Explain why the film director is considered an artist.

4. Describe the allied arts that have emerged as part of the film
industry.
5. Explain the film technique called “montage.”
6. What are some of the popular film genres? Name recent movies
that are examples of these different genres.
7. Explain how film has served as a powerful communication medium
from the 20th century until today.
8. In the Philippine film industry, name at least three outstanding film
directors.
9. What do you notice about the topics or subjects of their films?
10. Cite some distinctive achievements by the Filipino film directors
presented.
C. WHAT TO PROCESS (Session 4)
Have the class do the What to Process activity on page 272 of the Arts
Film Group Project: “Moving Selfies!”
1. Divide the class into groups of eight to 10 students each.

2. Have the groups arrange for access to at least one of any of the
following devices with video capabilities:
a) a mobile phone with video camera
b) a tablet with video camera
c) a digital video camera
3. Each group will choose a catchy tune of about two minutes in length.
4. On their own time outside of class hours, each group will create a
series of “video selfies” of themselves with that tune as the
background music.
5. Using a video editing program (as discussed in Quarter II), they will
work together to synchronize the video segments with the beat and
lyrics of their chosen song.
6. Each group will save the finished video and turn it over to you for
safekeeping until it will be presented as part of the culminating exhibit.
Have the class do the following What to Understand activity on page 273
145
“Film Viewing”
1. Set up a television and a DVD player in the classroom to show the

following selected film excerpts on disc; or a laptop computer can be
connected to a large monitor for viewing by the class:
a) one Filipino film by a director discussed in

the Learner’s Materials - 5-minute excerpt
b) one American/foreign film - 5-minute excerpt

(Note: If the foreign film is not in English,
a version with English subtitles should be used.)
2. After both film viewings have been completed, lead the class in a
discussion on the following about each excerpt:
a) title
b) director
c) year
d) lead characters and the actors who played them
e) film genre
f) specific scenes or techniques that show the art of filmmaking
3. Guide the class in comparing and contrasting the qualities they observed
in the Filipino and the American/foreign films that make each one
unique.
E. WHAT TO PERFORM

Design”
Guide the students in preparing their short videos for the culminating
exhibit at the end of the quarter by labelling them with original titles, their
group members’ names, the date, and the film editing software used.
IV. GENERALIZATION
Filmmaking can truly be called a technology-driven art form since it was

born out of the technological advances that took place in the late 1800s—
transforming still photography into moving pictures or “films.” Until today,
every new development in technology makes it possible for filmmakers to
awe audiences with increasingly daring, challenging, and seemingly
impossible techniques and effects.
146
Due to the complexity of creating a film, it is a collaborative art involving a

large team of artists and technicians in the various allied fields of directing,
acting, editing, production design, costume design, lighting, sound, special
effects, animation, and more. The medium is also so rich and versatile that it has
allowed for the development of an entire array of film genres to suit various
purposes and viewers’ preferences.
The Philippines has a number of highly talented and respected film directors.
Among them are Lino Brocka, Ishmael Bernal, Mike de Leon, Laurice
Guillen, Marilou Diaz-Abaya, Maryo J. delos Reyes, and Brillante
Mendoza.
V. SUMMATIVE TEST
discussed:
1. Name five developments in technology that have made film or “motion

pictures” possible.
2. What are the allied professions that form the collaborative team of a film?
Name and briefly describe at least five of them.
3. What are some of the most popular film genres?
4. Who are two female directors who have made a name for themselves in the
Philippine film industry?
5. Name at least three highly-acclaimed Filipino films.

ANIMATION / COMICS ILLUSTRATION / DIGITAL PRINT MEDIA
I. SUBJECT MATTER
A. Topic: Animation / Comics Illustration / Digital Print Media

 animation
 print media in advertising
 comics illustration
 book design and illustration
 digital books
B. Materials: DVD jackets or other visual aids representing any of the

Major animated films involving Filipino animators
147
(Toy Story, Up, The Incredibles, Monsters University, Cars,

Planes, Finding Nemo, Brave, Shrek, Kung Fu Panda)
Sample comic books (both foreign and Filipino)

Sample comic strips from magazines and newspapers
Sample books from any Philippine publisher, featuring

cover design and illustration by Filipino artists

Pages 274-289
III. ACTIVITIES
1. Overview of the different media-based arts:

a) Display in the classroom the DVD jackets or other visual aids of
the foreign animated films involving Filipino animators.
b) Ask if the students have watched any of these films, and if they
had ever imagined that Filipino artists were among those tapped to
create the characters and visual components.
c) Next, pass around among the students the sample comic books or
comic strips for them to examine the different subjects, styles, etc.
that these have.
d) Display in the classroom the sample books from Philippine
publishers. Allow the students to study the cover designs and to
look at the inside illustrations.
2. Explain that these are all examples of media-based arts that have
undergone tremendous advancements thanks to developments in
computer technology. These have made it possible to create, store, and
distribute digital arts in amazing new ways—which will be presented
in these sessions.
3. Have the students turn to the Arts Grade 10 Learner’s Materials, and
read the sections about each of these modern art forms:
a) animation (pages 274-276)
b) advertising (pages 278-279)
c) comics illustration (pages 280-284)
d) book design and illustration (pages 286-287)
148
B. WHAT TO KNOW
Have the students answer the What to Know questions for each of these
media-based art forms on the pages indicated below:
For Animation (page 276 of the Learner’s Materials)

1. Research on the meaning of the word “animate” or “animation.” How
does it describe the qualities and capabilities of this art form?
2. What is the contribution of animation to the art of film making?
3. Briefly discuss some significant achievements of the animation
industry in the Philippines—both for foreign animated films and
cartoon series.
4. What role does the Animation Council of the Philippines (ACPI) play
in equipping young Filipinos for a career in animation?
5. How has the Philippine Animation Studio, Inc. (PASI) helped gain
recognition for Filipino animators in the field of international
children’s cartoons?
6. Based on the examples presented, for what audience are our local
animators creating their works?
7. In general, what themes and subject matter have our local animators
been focusing on in recent years?
For Advertising (page 279 of the Learner’s Materials)

1. What forms does print media take in the field of advertising? Name 5
examples.
2. What does the advertising copywriter do?
3. Name the other art professionals who work together to create a print
advertisement.
For Comics Illustration (page 284 of the Learner’s Materials)

1. The popularity of comics began in the Philippines through what
magazine?
2. What was one of the first comic strips that appeared there?
3. Who became known as the “Father of Filipino Comics”?
4. What popular U.S. comics publisher hired many Filipino illustrators in
the 1960s to the 1980s?
5. How were early Filipino comics creators influenced by American
comics?
6. Yet how did local comics remain distinctly Philippine? Cite some
examples to support your answer.
7. With the limited access to books and libraries in the 1960s, what role
did comics play?
8. What trends in style and subject matter do you see in today’s local
comics?
149
For Book Design and Illustration (page 288 of the Learner’s Materials)
1. In the book publishing industry in the Philippines, how has the
profession of book design evolved?
2. What trends or styles do you notice in the examples of book design
presented?
3. What is the digital counterpart of print media now available to authors
and publishers? Briefly explain this.
4. Describe how this affects the publishing and printing industry.
C. WHAT TO PROCESS (Session 6)
CHOICES OF GROUP PROJECTS: Considering the time needed to

complete all the media-based projects for Quarter III, the class members
will be asked to choose just one from among the following:
a) “A Stop-action Cartoon”
b) “Promoting Products/Services for a Cause”
c) “Kool Komiks”
d) “Making a Story Book”
Those who choose the same project will be formed into groups. Then, they
will work on their respective projects together outside of class hours.
Animation Group Project: “A Stop-Action Cartoon”

(page 277 of the Learner’s Materials)
1. The group members will make use of a mobile phone, tablet, or digital
camera to do this most simple and basic process for creating what is
known as “stop-action animation.”
2. The members will think of an action that will be captured as a series of

still images lasting a total of 10 to 15 seconds. It can be an action to be
done by a human or a movement of an object.
3. They will then carry out the action or movement, while taking a still
image of each progressive step in that action or movement.
4. The still images will then be made to “move” using a digital animation
program (as discussed in Quarter II). If the program allows the
inclusion of a music clip or sound effects, the group may opt to add
this as well.
150
5. The finished stop-action cartoons will be saved and turned over to you
for safekeeping until they will be presented as part of the culminating
exhibit.
Advertising Group Project: “Presenting Products/Services

with a Cause”
1. The group members will decide on original products or services, as

well as special causes that these products or services can be presented
as supporting or advocating.
2. Using image capture and manipulation programs discussed in Quarter

II, the group members will create their choice of posters,
banners/streamers, brochures, or print advertisements to present these
products/services with a cause. (Note: Guide the group members in
selecting the final format for these projects, as the cost and the
accessibility of printing or output services must be considered.)
3. The finished print advertisements will be turned over to you for

safekeeping until they will be presented as part of the culminating
exhibit.
Comics Group Project: “Kool Komiks”

1. The group members will decide upon a subject matter and main
character (or characters) for a simple 5-frame comic strip that they will
create.
2. The members will volunteer to take on different aspects of producing

the comic strip:
a) conceptualizing and creating the “story board” for the comic strip
frames
b) writing the text and/or dialogue that will appear in each frame
c) rendering the main characters and the background details using an
illustration program of the group’s choice
d) outputting the finished frames (since this will be for exhibit
purposes, each frame shall be approximately 5” x 7” in size;
which means the entire strip will be a total of 35” long)
151
3. The finished comic strip will be mounted on illustration board or

chipboard cut to size.
4. The group will turn over the finished comic strip to you for
safekeeping until this will be presented as part of the culminating
exhibit.
Book Illustration Group Project: “Creating a Story Book”

1. The group members will decide upon a subject matter and characters
for a simple 10-page storybook that they will create.
2. The members will volunteer to take on different aspects of producing

the book:
a. conceptualizing and writing the storyline
b. encoding the text of the story into a word processing or book
layout program
c. rendering the artwork for the book cover using an illustration
software
d. rendering the illustrations using an illustration software, and
incorporating these into the book layout
e. outputting the finished cover and inside pages of the book
f. binding the cover and inside pages into book form
3. The group will turn over the finished book to you for safekeeping until
this will be presented as part of the culminating exhibit.
Have the students answer the What to Understand questions for each of
these media-based arts on the pages indicated below:
For Animation (page 277-278 of the Learner’s Materials)

1. What role does animation play in the various media you see daily?
2. What do you think of the reputation of Filipino artists in the world of
animated feature films and cartoon series?
3. Do you think animation is an effective medium for promoting
awareness among young Filipinos about Philippine history, literature,
and folk lore? Why or why not?
4. Would you consider animation as a possible career option in the
future? Explain your reasons.
152
For Advertising (page 279-280 of the Learner’s Materials)

1. Is there still a place for print advertising along with other forms like
television, radio, and online advertising? Why do you say so?
2. Would you consider the visual aspects of advertising as a form of
media-based art? Support your answer.
3. Does advertising have certain responsibilities to the public? If yes,
what do you think these are?
4. Cite a specific print advertisement that you find particularly
effective. Explain the elements or techniques that you believe
contribute to its impact.
5. As a consumer of certain products for personal use or for school, do
you find yourself influenced by print advertisements in choosing
which products to buy? What factors in the advertisements influence
you most, and why?
For Comics Illustration (page 285 of the Learner’s Materials)

1. Do you consider comics illustration a modern form of art? Why or
why not?
2. How are today’s Philippine comics different from those of the 1960s
to the 1980s?
3. Are you a comics reader—whether of American or Filipino comic
books or series? If not, what is the reason? If yes, what attracts you
to them?
4. Among the current generation of local comics writers and artists
presented here, whose style appeals to you most? Briefly explain
why.
For Book Design and Illustration (page 289 of the Learner’s Materials)
1. Looking at the sample book covers shown, would you consider book
design and illustration an art form? Why or why not?
2. Are book design and illustration possible options as a profession for
artistic young Filipinos? Explain your opinion.
3. With books now being available online, explain how this new
development affects the buying and reading public.
4. Do you view this as a positive development? Why do you say so?
5. Do you yourself access books online? What do you find to be the
pros and cons of this new form of reading experience?
E. WHAT TO PERFORM

Design”
153
Note: This is to be done simultaneously for the artworks from the projects
for animation, advertising, comics illustration, and book design and
illustration.
Guide the students in labelling each artwork with the original title, the
group members’ names, the date, and the following descriptive summary
of how the works were created:
 manual components (if any)
 electronic devices used (digital camera, laptop, tablet, scanner,
printer, etc.)
 software programs used (image capture, image manipulation,
animation, special fonts, etc.)
IV. GENERALIZATION
The various areas of digital media, such as animation, advertising, comics

illustration, and book design and illustration, are truly products of the
technological advances of the past decades. From the time when all of these
were hand-rendered (drawing, painting, typesetting, literal cutting and
pasting) to the use of simple machines and devices, these have now
progressed to computer-generated processes that allow artists to modify, store,
and share the finished works entirely on a desktop, laptop, or handheld device.
V. SUMMATIVE TEST
discussed:
On animation
1. Name five highly-popular international animated films that have included
Filipino animators.
2. Name two foreign-produced television cartoon series in which Filipino
animators were involved.
3. Name two original Filipino animated films.
4. What are some of the institutions or associations that help develop the
talents and skills of Filipino animators.
On advertising
5. In the field of advertising, name at least five forms in which print media is
applied.
6. What are the purposes of advertising in printed form?
7. How is Filipino artistry applied in printed advertisements?
154
On comics illustration
8. Is the Philippine comic book genre just a recent development? Why do
you say so? Support your answer.
9. How were early Filipino comics artists influenced by American comics
trends? Give some examples.
10. Aside from superheroes, what themes and subject matter also became
popular in Philippine comics through the decades?
On book design and illustration

11. In the book publishing industry in the Philippines, how has the profession
of book design evolved?
12. What trends or styles do you notice in the examples of book illustration
presented?
13. Name three of the Philippine publishing companies that create books
showcasing the illustration and design talents of Filipino artists.
On digital media
14. What is the digital counterpart of print media now available to authors and
publishers? Briefly explain this.
15. Describe how this affects the publishing and printing industry.
16. What artistic and technical skills would be needed to pursue a career in
digital media?
17. Give examples of formats that you yourself use for accessing materials
that used to be available only in printed form.
Quarter III – Session 7

INNOVATION IN PRODUCT AND INDUSTRIAL DESIGN
I. SUBJECT MATTER
A. Topic: Innovation in Product and Industrial Design

 Kenneth Cobonpue
 Monique Lhuillier
 Josie Natori
 Rajo Laurel
 Lulu Tan Gan
 Dita Sandico Ong
155
B. Materials: Photos of products and designs by Filipino product

designers, fashion designers, industrial designers, etc.
(these may be from magazines, catalogs, or downloaded
from the internet)
For group projects: materials and supplies as required by

each group’s respective projects

Pages 289-296
III. ACTIVITIES
1. Have the students create a “mini gallery” in the classroom by taping

onto the chalkboard and/or pinning to the bulletin board the
photographs they had brought of products and designs by Filipino
designers.
2. Allow the class to view the photos for about 5 minutes, and to discuss
their observations.
3. Explain that they will get to learn about accomplished Filipino

designers who have made a name for themselves, as well as for the
Philippines, in the global world of fashion, interior, and industrial
design.
Materials, and read the presentation on Filipino design.
5. Ask the students:

a) Which of the Filipino designers presented made a particular
impression on them, and why?
b) Which particular aspect of design appeals to them most, and why?
c) By viewing the sample works of these designers (and the ones
displayed in the classroom “mini gallery”), how do they see
technology playing a role in the concept and creation of these
designs?
d) How do they see art reflected in these designs as well—particularly
employing Philippine materials and local crafts? Have them point
to specific details.
156
B. WHAT TO KNOW
Have the students answer the What to Know questions on pages 294-295
1. How does technology drive the applied arts such as product design,
fashion design, and industrial design?
2. Who is an acclaimed Filipino designer who has become known
globally for his innovative furniture pieces, lighting accessories, and
interior accents?
3. Who is hailed as the “Wrap Artiste” of the Philippines? Why is this
so? What unique materials does she use in her creations?
4. Who is the Filipino investment banker turned fashion designer,
world-renowned for luxury lingerie and lounge wear?
5. Which Filipino fashion designer is popularly recognized for being a
judge on the TV series Project Runway Philippines and a major
name in the local and international fashion scene? What other
commendable efforts is he involved in?
6. What is the new fashion line of designer Lulu Tan-Gan, known as
“The Queen of Knitwear”? What makes her creations interesting and
unique?
7. Who is the Cebu-born Filipina designer who has become the darling
of the international celebrity set from her beginnings as a wedding
dress designer?
8. Do you note a common vision among these Filipino artists? What do
you think it is? Explain briefly.
C. WHAT TO PROCESS
Have the class do the What to Process activities on page 295-296 of the
Applied Arts Group Projects:

“Project Runway” / “Project Interior”
1. Divide the class into two large groups. Group A will create fashion-
related pieces; while Group B will create interior design-related
pieces.
2. The key here is for each group to make use of locally and readily-
available materials in very innovative and imaginative ways.
3. The suggested target output for each group is listed below. However,
group members may have their own, even more creative ideas that
they are free to implement.
157
Group A – Fashion-related Pieces

 Head piece or hair accessory
 Bag, tote, or pouch
 Belt or sash
 Fashion accessories – bangles, buckles, buttons, a scarf, etc.
Group B – Interior Design-related Pieces
 Vase, basket, or decorative bowl
 Seat cushion or throw pillow
 Lamp shade or lighting accessory
 Door mat or small area rug
4. The group members will use Session 7 to conceptualize their

particular products together in the classroom. However, the actual
making of the products will have to be done on their own time
outside of class hours
5. Each finished piece will be labeled with a creative name highlighting
its distinct qualities; and the names of the group members. The
pieces will be turned over to you for safekeeping until they will be
presented as part of the culminating exhibit.
Have the students answer the What to Understand questions on page 296
1. Seeing the Filipino achievers in this field, both locally and

internationally, how do you view the potential of our people in terms
of the ‘applied arts’? Explain your opinion.
2. What realizations do you have about Philippine raw materials and
how they can be incorporated into creations for interior design,
furniture, decorative accent pieces, clothing, and fashion
accessories?
3. What do you think about combining our traditional crafts and
indigenous materials with world-wide trends in color, texture,
design, and even function?
4. What is your reaction to the creations of the Filipino designers
presented? Which one/s particularly impressed or appealed to you?
5. Would you consider these designers as role models for young
Filipinos like yourselves looking ahead to your future careers?
Explain briefly.
158
E. WHAT TO PERFORM

Design”
Guide the students in preparing their fashion and/or interior design

creations for the culminating exhibit at the end of the quarter. All the
finished pieces should be labelled with original titles, the group members’
names, the date, and the technique and materials used.
IV. GENERALIZATION
Product design and industrial design, by their very nature, are technology-
driven. Many of the materials and processes now available to modern designers
did not exist in past decades, or have been tremendously modified and
enhanced. This can be seen most prominently in furniture, lighting, interior
fixtures and accessories—many of which creatively combine contemporary
design with a Philippine flair.
Also in the field of fashion design, for which Filipinos are already globally
admired, materials and processes have also been influenced by technology. This
can be seen in the blending of local fibers with other natural and synthetic ones,
new weaving processes and dyeing techniques, the use of embellishments like
embroidery, beadwork, applique, and others—while also being in step with
world-wide fashion trends.
V. SUMMATIVE TEST
discussed:
1. Cite three technological developments each that continue to advance:

a) product design
b) industrial design
c) fashion design
2. Name some ways in which indigenous materials and crafts have been
incorporated in contemporary industrial, interior, and fashion design.
159
3. Match the following designers with what they are known for:
a) Lula Tan-Gan _____ bridal gowns
b) Monique Lhuillier _____ Project Runway Philippines
c) Kenneth Cobonpue _____ luxury lounge wear
d) Dita Sandico-Ong ____ stylish knitwear
e) Rajo Laurel ____ trendy furniture
f) Josie Natori ____ abaca fiber wraps
CULMINATING ACTIVITY:
EXHIBIT OF MEDIA-BASED ARTS AND DESIGN
The last session for Quarter III will be devoted to staging “An Exhibit of Media-
based Arts and Design” presenting the following categories:
1. Photography
2. Film
3. Animation
4. Advertising
5. Comics Illustration
6. Book Design and Illustration
7. Product / Industrial / Fashion Design
The students will select from among their own works created within Quarter III, as
well as source photos, magazine or calendar cutouts, Internet images, etc. of at least
two to three representative artworks each for the above categories.
Curating the Exhibit
Each artwork will be accompanied by a card briefly describing the work as follows:
For student-made artworks/products:
Title _________________________________________________
Artist/s _________________________________________________
Date of creation ___________________________________________
160
For reproductions or images of known artworks/products:
Title _________________________________________________
Artist ____________________________________________________
Year or period of creation _____________________________________
Have the class members invite the school Administration, other faculty members, and
their schoolmates to visit the exhibit. Help them prepare to explain the works and
how these present the characteristics of different forms of media-based art and design.
Critiquing the Exhibit
As a form of self-evaluation, guide the students in rating the culminating exhibit

using the format below:
“An Exhibit of Media-based Arts and Design”

Evaluation Form
Selection of artworks/products
(theme and message)
Presentation
labelling of works)
Assignment of tasks
161
Quarter IV: ORIGINAL PERFORMANCE
WITH THE USE OF MEDIA
CONTENT STANDARDS

1. how theatrical elements (sound, music, gesture, movement, and costume) affect
the creation and communication of meaning in a theater play/performance
incorporated with media.
2. theater and performance as a synthesis of arts.
The learner…
1. creates appropriate costumes, props, set accessories, improvised lighting, and
other décor for Philippine plays.
2. creates/improvises appropriate sound, music, gesture, and movements for a
chosen theatrical composition.
3. participates in an original performance inspired by local Philippine stories, myths,
and events relevant to current issues.
The learner…
1. explains how an idea or theme is communicated in a selected performance
through the integration of musical sounds, songs, dialogue, and dance.
2. analyzes examples of plays based on theatrical forms, and elements of art as
applied to performance.
3. illustrates how the different elements are used to communicate the meaning.
4. defines the uniqueness of each original performance.
5. designs with a group the visual components of a school play (stage design,
costumes, props, etc.).
6. assumes the role of a character as an actor/performer, or production staff (director,
choreographer, lighting designer, stage manager).
7. analyzes the uniqueness of the group that was given recognition for its
performance and explains what components contributed to its selection.
8. contributes to the conceptualization of an original performance
9. choreographs the movements and gestures needed in the effective delivery of an
original performance with the use of media.
10. improvises accompanying sound and rhythm needed in the effective delivery of
an original performance with the use of different media.
162
Quarter IV: Original Performance With the Use of Media
Quarter IV – Session 1
PHILIPPINE THEATER AND PERFORMING GROUPS
I. SUBJECT MATTER
A. Topic: Original Performance with the Use of Media

 Philippine theater and performing groups
 roles in a production
B. Materials: Photograph of Lea Salonga and other well-known

Philippine theater personalities
Sample souvenir programs from any theater productions

Pages 300-313
II. PRE-ASSESSMENT
experienced concerning a theater production or performance:
1. Can you identify these personalities from the world of Philippine theater?
(Present to the class the photographs of Lea Salonga and other theater
personalities.)
2. Have you watched excerpts of theater productions that Lea Salonga has
starred in (maybe on YouTube): Miss Saigon, Les Miserables, Flower
Drum Song, Annie.
3. Have you watched the animated films in which she provided the singing
voice of the lead female character: Mulan and Aladdin.
4. Do you know how Lea was hand-picked from among hundreds of
hopefuls in several countries for the role of Kim in Miss Saigon? And how
from there, she went on to become a multi-awarded theater star in
London’s West End and on Broadway?
5. Have you watched any live theater performance? If yes, describe the
experience.
III. ACTIVITIES
A. PRESENTATION OF THE TOPIC (SESSION 1)
163
1. Explain to the class that, in this Quarter IV, they will get to learn
firsthand about the complex collaborative process of staging a theater
production—as they join the entire class in the culminating activity of
presenting an original stage performance.
Materials, and read the sections on Philippine theater groups and on
the roles in a theater production.
3. Ask them to comment on the different theater groups presented, as

well as on the types of productions they stage.
4. What does this tell them about the state of the Philippine theater
industry? Have them explain their views.
5. Next, have the students briefly explain each of the roles/functions in a

stage production team:
a. producer
b. director
c. playwright
d. set designer
e. lighting designer
f. costume designer
g. sound designer
h. production manager
i. technical director
j. choreographer
k. makeup designer
4. Ask the class where they believe the various media arts they have
studied in Quarters II and III could be most effectively applied in the
staging of a theater performance.
B. WHAT TO KNOW
Have the class answer the What to Know questions on pages 311-312 of
Philippine Theater Groups
1. What are the active theater groups in the Philippines specializing in

original plays written in Filipino?
2. Name two performing groups that present adaptations of foreign plays,
primarily in English.
164
3. Which theater company has produced a number of actors and actresses

who have gone on to become stars on the international stage?
4. Which theater company tends to present productions with thought-
provoking content?
5. Name the production group that focuses on family-oriented and
values-rich performances.
6. Which performance company aims to develop both performers and
audiences for classical music theater?
7. What do you note as two of the main objectives that Philippine theater
groups have in common? Explain these briefly.
Roles in a Stage Production
1. How is the director of a play similar to an orchestra conductor?

Explain briefly.
2. Which member of the production team shadows the director? Briefly
describe his or her role.
3. What is the creator of the script for stage performance called?
4. Out of the many roles required in a stage production, name three that
are involved with the physical setup and mood of the performance
area.
5. Name two other roles that are responsible for the physical appearance
of the different characters on stage.
6. What is another name for the technical rehearsal? Why was it given
this name?
C. WHAT TO PROCESS (any time within Quarter IV)
Have the class do the What to Process activities on pages 312-313 of the
“Experiencing Theater”
If feasible, schedule a time within Quarter IV for the class to watch a live
play. Depending on what is available or accessible in your area within that
period, any of the following may be considered:
Option 1: a live performance of a production by any Philippine

theater group (whether mentioned above or others)
Option 2: a recorded performance of a production by any of

these groups to be viewed in school
165
Option 3: a school or community play
Option 4: a classroom play
1. Instruct the students to watch the play very attentively. Have them
observe how the plot is developed and take note of the artistic
elements and principles used.
2. Have them write a reaction paper using the following outline:
Title of the play __________________________________________
Scriptwriter __________________________________________
Director __________________________________________
Stage Designer __________________________________________
Setting __________________________________________
Main characters __________________________________________

__________________________________________
__________________________________________
Main story line (a 1-paragraph summary)

__________________________________________
__________________________________________
__________________________________________
Personal reaction __________________________________________

__________________________________________
__________________________________________
Have the class answer the following What to Understand questions on

page 313 of the Arts Grade 10 Learner’s Materials:
1. What is your impression of the theater industry in the

Philippines?
2. Would you like to attend a stage production of the various theater
groups? Why or why not?
3. What type of play most interests you? Explain the reason.
166
4. How do you feel about the Philippine theater performers who

have become stars on both the local and international stage?
5. Can you envision yourself being involved in the theater arts in
some way?
6. Would you consider a full-time (or part-time) career in this field?
E. WHAT TO PERFORM (Sessions 2 to 8)
General orientation:
1. Brief the students on the entire process that they will go through in the
remaining sessions of Quarter IV (see outline on pages 313-316 of the
Learner’s Materials).
2. These sessions will be devoted to working on all aspects of the stage

production that can be done in the classroom. Any other related tasks
may be completed outside of class hours.
IV. GENERALIZATION
Mounting an original stage performance entails a complex collaborative

process involving an entire team of artists and technicians behind the scenes,
supporting the actors who are visible on stage. For an original stage
performance with media, the production can become even more exciting and
entertaining—as the various media-based arts are used to enhance the stage
design, costumes, makeup, lighting, sound, special effects, and the like.
V. SUMMATIVE TEST
discussed:
1. What are the different art forms that all come together in the production of
a theater performance?
2. Name the two Philippine theater groups that present original and adapted
plays in Filipino.
3. Name at least three other active theater groups in the country that stage
theater productions, primarily in English.
4. Cite the achievements of theater actress Lea Salonga.
5. Who is the overall ‘conductor’ of a theater production?
6. Name at least five other roles that are needed in mounting a production on
stage. Briefly describe the main task involved in this role.
167
Quarter IV – Sessions 2 to 8
ORIGINAL PERFORMANCE WITH THE USE OF MEDIA
During Session 1, you would have already oriented the class on this culminating
activity of staging an original theater performance. Every class member would
already have been assigned his or her specific role in the production process, which
each one shall then carry out in the course of the Quarter.
CULMINATING ACTIVITY FOR THE FOURTH QUARTER
STAGING AN ORIGINAL PERFORMANCE

Assigned Theme: A Philippine Myth, Legend, or Folk Tale
Or a Current Issue
A. Start of the Quarter: Pre-Production
1. Sourcing/Writing the Script

- A group of class members will be tasked with sourcing an existing
script on a Philippine myth, legend, or folk tale; or dealing with a
current issue.
- If an existing script is not available or not suitable for school use, this
group will create an original script. Note: Guidelines for effective
scriptwriting would have been taken up in English classes.
2. Casting the Actors

- Based on the script that has been sourced or written, the characters will
be cast from among the class members.
3. Forming the Production Team

- The remaining class members will be assigned the following roles that
are typically required for a school or class play:
a) Director
b) Technical/Assistant Director
c) Set Designer, with a team of 4-5 students as production crew
d) Lighting Designer, with a team of 4-5 students as lighting crew
e) Sound Designer, with a team of 4-5 students as sound crew
f) Production Manager, with a team of 6-8 students as stage crew
g) Costume Designer, with a team of 3-4 students as wardrobe crew
h) Makeup Designer, with a team of 2-3 students as makeup crew
i) Choreographer, with an Assistant Choreographer
168
B. Mid-Quarter:Production of Sets, Costumes, and Props

Design of Lighting and Sound, Using Different Media
Start of Acting Rehearsals and Blocking
As mentioned at the start of this Quarter, theater is an art form that brings
together an entire range of art forms—along with their corresponding
elements and principles.
As the entire class begins production of the play’s sets, costumes, and props;
the design of the lighting and sound; and the acting rehearsals, all class
members should maintain a clear intent to apply the following in this
particular class production:
Elements of Art as Applied to an Original Performance
1. Sound and Music – incorporating sound recording and editing techniques

available via applications for desktop or laptop computers, tablets, and
android phones
2. Gesture, Movement, and Dance – incorporating appropriate dance styles

and techniques learned in Physical Education classes
3. Costume, Mask, Makeup, and Accessories – incorporating art

techniques such as painting, papier mache, assemblage, simple sculpture
and industrial design
4. Spectacle – creating a striking, even awe-inspiring effect on stage through

the use of lighting, sound, music, costumes, dance, and special effects
Principles of Art as Applied to an Original Performance
1. Rhythm, Movement
2. Balance
3. Emphasis
4. Harmony, Unity, and Variety
5. Proportion
169
C. Last Weeks of the Quarter: Technical Rehearsal
- Schedule a technical rehearsal at least a week before the intended

performance date of the play.
- Collaborate with the Music teacher, the Phyiscal Education teacher, and
perhaps the Drama Club moderator to assess what components of the play
may still need improvement.
D. End of the Quarter: Performance Proper
- This is the culmination of the students’ months of hard work and

preparation. Have them invite the other sections of Grade 10, other grade
levels, and the school administration to be their audience.
- Encourage them to execute their respective roles—whether as an actor or a
member of the production team—to the best of their ability.
- Schedule a critiquing session after the performance to discuss the various
learnings that took place in the course of staging an original theater
performance.
Critiquing the Performance
As a form of self-evaluation, have the class members rate their performance using the
format below:
“STAGING AN ORIGINAL PERFORMANCE”

Evaluation Form
Criteria Very Good Good Fair

Poor
Choice of play subject

(theme and message)
Casting of characters
Assignment of tasks
170
Rehearsal process
Production process
Carrying out of roles:
Scriptwriting
Direction
Stage management
Acting
Stage design
Lighting
Music
Choreography
Sound effects
Costumes
Makeup
Audience response
171
MUSIC GLOSSARY
absolute music Music with no extra-musical association such as words, visual imagery, or emotion;
the opposite of program music
a cappella A Latin term, applied to choral music without accompaniment
aerophone Any musical instrument that produces sound primarily by causing a body of air to vibrate,
without the use of strings or membranes
alternative music An underground independent form in the 1980’s that became widely popular in the
1990’s for defying the excesses of “mainstream” rock music, Alternative Music became known for
its unconventional practices such as distorted guitar sounds, oppressive lyrics, and defiant
attitudes.
alto 1 A female voice with a range lower than a soprano, but higher than the male tenor
2 A term used for an instrument whose range is analogous to the alto voice
aria An air or song for solo voice with orchestra, usually part of an opera, cantata, or oratorio
art song Short stylized song dealing with such subjects as love, nature, and life. It is usually written
for one voice with piano accompaniment
atonality A term used for music without a central key, thereby producing dissonant harmonies and
disjunct melodies
avant-garde A French term used to describe composers (also artists and writers) whose works are
radical and advanced
ballad Is an expressive folksong in narrative verse whose text deals typically about love.
ballet An artistic dance form performed to music, using precise and highly formalized set steps and
gestures
beat Regular, current pulsation that divides music into equal units of time
bebop It is a modernist jazz style of music during World War II whose jazz spirit is coupled with the
harmonic standard structure as a new pattern to base its improvisation.
big band A large ensemble form originating in the United States in the mid 1920’s closely associated
with the Swing Era with jazz elements. Relying heavily on percussion (drums), wind, rhythm
section (guitar, piano, double bass, vibes), and brass instruments (saxophones), with a lyrical
string section (violins and other string instruments) to accompany a lyrical melody.
bodabil A genre of various entertainment composed of songs, dances, comedy routines, magic acts,
and chorus girls
bossa nova originated in 1958-59 as a movement effecting a radical change in the classic Cuban
samba. The word “bossa” comes from the Brazilian capital of Rio de Janeiro, which means either
‘trend’ or ‘something charming’, integrating melody, harmony, and rhythm into a “swaying” feel,
where the vocal production is often nasal.
blues A type of black American folk music of the 20th century related to jazz, and associated with
one’s state of mind
blues ballad A fusion of Anglo-American and Afro-American styles from the 19th century that
deals with the anti-heroes resisting authority.
call and response method It is a succession of two distinct musical phrases usually rendered by
different musicians, where the second phrase acts as a direct commentary on or response to the
first. Much like the question and answer sequence in human communication, it also forms a strong
resemblance to the verse-chorus form in many vocal compositions.
cha cha A ballroom dance originating in Cuba in 1953, derived from mambo and its characteristic
rhythm of 2 crochets – 3 quavers – quaver rest with a syncopation on the 4th beat.
chamber music Music for a chamber (or small room) rather than a hall; hence music played by small
groups—duos, trios, quarters, etc.
chance music Music in which chance or randomness of performance is an element of the composition.
chord The simultaneous sounding of two or more tones
chordophone Any musical instrument that produces sound primarily by vibrating strings
chromatic An interval based on an octave of 12 semitones rather than a diatonic scale
172
concerto Originally, a work (vocal or instrumental) with effects of contrast, but now a work in which
a solo instrument performs with a large ensemble or orchestra
counterpoint The simultaneous combination of two or more melodies, or polyphony
countersubject A subsidiary theme played in response to the subject of a figure
cumbia An African courtship dance with European and African instrumentation and characteristics,
which became popular in Panama and Colombia
disco Music pertained to rock music that was more danceable, which led to the establishment of
venues bearing the same name as a place for public dancing
dissonance An interval or chord that is not harmonious like a consonance
dynamics Variations in the volume of musical sounds
electronic music Music which uses electronic equipments

ensemble A small group of performers
expressionism A term borrowed from painting and literature for music designed to express a state of
mind
folksongs Songs by the people handed down from generation to generation

form Organization of musical ideas in time; structure of a musical composition
foxtrot A 20th century social dance in the USA that was executed as a one step, two step and
syncopated rhythmic pattern
harmony The combination of simultaneous tones to produce chords, and the relationship of successive
chords
idiophones A musical instrument that creates sound through its own vibration, without the use of
strings or membranes
impressionism A term borrowed from painting to describe music that is intended to convey an
impression (often of natural phenomena) rather than a dramatic or narrative idea
incidental music Music composed as a background in a stage production
interval The distance between two pitches, traditionally measured in terms of the steps in the diatonic
scale
jazz Music originated from African-American people characterization by improvisation, syncopation,

and usually a regular or forceful rhythm
jazz ballad A blues style built from a single verse of 16 bars ending on the dominant or half-cadence,
followed by a refrain/chorus part of 16 or 32 bars in AABA form
J pop Japanese popular music
jazz rock The music of the 1960’s and 1970’s bands that inserted jazz elements in its rock music. A
synonym for “jazz fusion,” jazz rock is a mix of funk and R & B rhythms
K pop Korean popular music
maracatu A form of Latin-American music that first surfaced in the African state of Pernambuco,
combining the strong rhythms of African percussion instruments with Portuguese melodies.
melody A succession of notes of varying pitch with a recognizable shape or tune
meter Organization of beats into regular groups
musique concre’te Music in which real (or “concrete”) sounds are electronically recorded
neo-classical A term describing the music of some twentieth-century composers whose techniques
draw on those of the Baroque and Classical periods
note Symbol used to indicate pitch
opera A drama set to music, with costumes and scenery to complement the musicians
173
opus The Latin word for “work” used with a number to identify a work in a composer’s output
paso doble (meaning “double step”) A theatrical Spanish dance used in bullfights, where the music
was played as the matador enters (paseo) and during passes just before the kill
pitch Relative highness or lowness of a sound
polyphony A texture in which two or more independent melodic lines are combined, as opposed to
heterophony, homophony, monophony
prelude A short instrumental work originally intended to precede another, but from the nineteenth
century a short, self-contained piece usually for piano
program music Instrumental music that is narrative or descriptive of some non-musical idea, often
literary or pictorial
progression A musically logical succession of chords
ragtime An American popular musical style mainly for piano, originating in the red light districts of
the Afro-American communities in St. Louis and New Orleans. Its style was said to be a
modification of the “marching mode” made popular by John Philip Sousa, where the effect is
generated by an internally syncopated melodic line pitted against a rhythmically straightforward
bass line.
reggae An urban popular music and dance style that originated in Jamaica in the mid 1960’s,
containing an English text coupled with Creole expressions that were not so intelligible to the non-
Jamaican.
rhythm The distribution of sounds into groups with a perceptible meter or pulse
rock ballad It is an emotional love song with suggestions of folk music, as in the Beatles’
composition “The Ballad of John and Yoko” and Billy Joel’s “The Ballad of Billy.” This
style is sometimes applied to strophic story-songs such as Don McLean’s “American Pie.
rock and roll Popular song form in the United States during the late 1940’s to the 1950’s that
combines Afro-American forms such as the blues, jump blues, jazz, and gospel music with
the Western swing and country music.
rumba A popular recreational dance of Afro-Cuban origin, performed in a complex duple meter
pattern and tresillo, which is a dotted quaver – dotted quaver – dotted semiquaver rhythm. It is
normally used as a ballroom dance
scale A sequence of notes going upwards or downwards by step

score The music-copy of a piece for several performers; hence full score, containing complete details
of every participating voice and instrument
serialism A method of composing using a series of tones (usually all 12 of the chromatic scale), or
other musical elements, which are heard only in a particular order
soprano 1 The highest female voice 2 A term used for an instrument of high range
soul music was a popular music genre of the 1950’s and 1960’s. It originated in the United States. It
combines elements of African-American gospel music, rhythm and blues, and often jazz
sound Vibrations which are transmitted, usually through air, to the eardrum, which sends impulses to
the ear that we hear
spiritual Normally associated with a deeply religious person, it refers here to a Negro spiritual, a song
form by African migrants to America who became enslaved by its white communities.
staff The set of lines on and between which music is written
standard It is a song of established popularity by virtue of its enduring and recurring power.
subject A theme or a group of themes on which work is based
suite An instrumental work in several movements, usually a set of dances, which in the seventeenth
and eighteenth centuries often took the form allemande-courante-sarabande-optional dance
movements-gigue
syncopation The stressing of beats of a meter that are normally unstressed
synthesizer A machine that produces and alters sounds electronically
174
tablature A system of notation by symbols that represent the position of a performer’s fingers (e.g., on
a guitar) rather than the tone to be played
tango A Latin-American dance form whose name may have been of African origin meaning “African
Dance” or from the Spanish word “taner” meaning to play (an instrument).
tempo The speed of a piece of music
tenor The highest normal male voice
theme A musical idea on which a work is based, usually with a recognizable melody
timbre Quality of sound that distinguishes one instrument or one voice from another
time signature Two numbers, one above the other, appearing at the beginning of a staff, or the start of
the piece, indicating the meter of a piece; the number above refers to the number of beats per
measure, and the number below represents the note that gets one beat
tonality The feeling of gravitational pull towards a particular tone, determined by the key of the music
tone Sound that has a definite pitch or frequency
tone-color The quality of the sound of a particular instrument or voice, or a combination of them
triad A three-note “common” chord consisting of a fundamental tone with tones at the intervals of a
3rd and 5th above
twelve-tone A term used to describe a technique of composition (serialism) in which all 12 notes of
the chromatic scale are treated equally
variation A varied (elaborated, embellished, etc.) version of a given theme or tune
waltz A nineteenth-century dance in triple meter

whole tone The interval of two semitones
zarzuela A musical stage performance popularized in the Philippines during the Spanish period
MUSIC PRONUNCIATION GUIDE

Music Terms Pronunciation
1. a capella ah kuh-pel-uh; Italian ah kahp-pel-lah

2. aria ahr-ee-uh; air-ee-uh; ahr-ee-uh; uh-rahy-uh
3. avant-garde uh-vahnt-gahrd; uh-vant-, av-ahnt-, ah-vahnt-; French a-vahn-gard
4. bebop bee-bop
5. bossa nova bos-uh noh-vuh
6. concerto kYn cháirtō
7. cha cha chah-chah
8. cumbia koo m-bee-uh; Spanish koom-byah
9. ensemble ahn-sahmb; French ahn-sahn-bluh
10. etude ey-tood, ey-tyood, ey-tood, ey-tyood;French ey-tyd
11. jive jahyv
12. maracatu marakatu
13. musique concre’te French pronunciation: [myzik kɔ̃.kʁɛt]
14. opera op-er-uh, op-ruh
15. opus oh-puh s
16. paso doble pah-soh doh-bley; Spanish pah-sawdaw-vle
17. prelude prel-yood, preyl-, prey-lood, pree-
18. reggae reg-ey
19. salsa sahl-suh; Spanish sahl-sah]
20. samba sam-buh, sahm-
21. tango tang-goh
22. tablature tab-luh-cher, -choo r
23. triad trahy-ad, -uh d
175
Musicians’ Names Pronunciation
1. Claude Debussy Claude [klôd), De·bus·sy [dèb byoo see]

2. Arnold Schoenberg Schoen·berg [shúrn bùrg]
3. Bela Bartok Bar·tók [bar tàwk]
4. Igor Stravinsky Stra·vin·sky [strY vín skee]
5. Sergey Prokofieff Pro·ko·fi·eff [prY káwfee ef]
6. Francis Poulenc Pou·lenc [pol angk]
7. Leonard Bernstein Bern·stein [búrn steen]
8. Karlheinz Stockhausen Stock·haus·en [stók howz’n]
ARTS GLOSSARY
abstractionism An artistic style in which the natural appearance of objects becomes unimportant, and
images are reduced to geometrical shapes, patterns, lines, angles, textures, and colors
acrylic A fast-drying paint containing pigment suspension in acrylic polymer emulsion
action painting A style of painting in which paint is spontaneously dribbled, splashed, or smeared on
the canvas, rather than being carefully applied
aesthetic Relating to or dealing with the beautiful; pleasing in appearance
airbrush A device that is used to spray a liquid (such as paint) onto a surface
android A mobile operating system (OS) developed for use on electronic devices such as a mobile
phone or tablet; sometimes also used to refer to the device itself using such an OS
animation The process of creating the illusion of motion or shape change by means of the rapid
display of a sequence of static images that are minimally different from one another
avant-garde Experimental or innovative, particularly in art and culture
balance A principle of art having to do with visual equilibrium, or two parts or sides of an artwork
having equal “visual weight”
celluloid A colorless flammable material used to make photographic film

cinematography The art of making motion pictures
collage An artistic composition of materials and objects pasted over a surface, often with unifying
lines and color
composition An organization or arrangement imposed upon the elements within a work of art
conceptual art Art that is intended to convey an idea or concept to the perceiver, and need not involve
the creation or appreciation of a traditional art object such as a painting or sculpture
contemporary art Art subjects, styles, and forms that are prevalent at the current time
contrast The use of opposing elements, such as colors, forms, or lines, in proximity to produce an
intensified effect in a work of art
copywriter The creator of text, normally for use in advertising in magazines, brochures, posters
cubism A style of art that stresses abstract structure at the expense of other pictorial elements,
especially by displaying several aspects of the same object simultaneously and by fragmenting the
form of depicted objects
dadaism A movement in art and literature based on deliberate irrationality and negation of traditional
artistic values
dark room A room from which all light is excluded, so that photographs can be developed in it
digital Referring to data (including images) that are created, stored, and transmitted through electronic
means
digital camera A camera that encodes images and videos through electronic means (rather than
through traditional film) and stores them for later retrieval and use
176
digital single lens reflex (DSLR) camera A camera that combines the features of a traditional single-
lens reflex camera with a digital imaging sensor, eliminating the use of film
distortion / distorted The alteration of the original shape of something, such as an object or image
documentary A film or TV program presenting the facts about a person or event
dubbing The act or process of furnishing a film or tape with a new sound track or adding music,
sound effects, etc. to an existing one
embellishment Anything that adds design interest to a piece, usually in sewing, arts, and crafts
entrepreneur A person who conceptualizes and develops a business
expressionism A theory or practice in art of seeking to depict the subjective emotions and responses
that objects and events arouse in the artist
fauvism A movement in painting characterized by vivid colors, free treatment of form, and a resulting
vibrant and decorative effect
filter In photography, a device that partially or completely absorbs certain light rays
fish eye A visual distortion, usually in a photographic image, created by a special lens resulting in a
convex, hemisphere-shaped image
focal Placed at or measured from a focus
footage Film that has been shot
foreground The part of a scene or picture that is nearest to and in front of the viewer
form The element of art pertaining to the three dimensions (height, width, and depth) of art objects; or
the appearance or illusion of these three dimensions, as in a painting
futurism A movement in art, music, and literature begun in Italy about 1909 and marked especially
by an effort to give formal expression to the dynamic energy and movement of mechanical
processes
genre A type, style, or category of art
haute couture “High fashion” or the creation of exclusive custom-fitted clothing

hue The property of color that distinguishes one color from another as red, green, violet, etc.
impasto An art technique involving heavy application of paint to canvas, often with a spatula or knife
instead of a paintbrush, and sometimes directly from the tubes of paint
impressionism A school of late 19th century French painters who depicted the appearance of images
by using strokes of unmixed colors to give the impression of the reflected light
improvised Created or devised with the use of whatever is on hand
installation art Art that is created, constructed, or installed on the site where it is exhibited, often
incorporating materials or physical features on the site
kinetic Relating to or exhibiting motion

kinetoscope An early motion picture exhibition device, designed for viewing films by one individual
at a time through a peephole viewer window in the top of the device
landscape In art, the depiction of natural scenery such as mountains, valleys, forests, and rivers as the
main subject of the artwork
mechanical style An artistic movement in which figures and images were reduced to basic elements,
such as planes, cones, spheres, cylinders, and other mechanical components; even human figures
were mere outlines without expression
mime The art or technique of portraying a character, mood, idea, or narration by gestures and bodily
movements
minimalism A style or technique (as in music, literature, or design) that is characterized by extreme
spareness and simplicity
177
mixed media Varied artistic materials and processes used in combination in one artwork
monochromatic Having only a single color
montage In filmmaking, the process of editing the film footage
monumental Huge, imposing, great
mythical Referring to a creature, character, or place that is found in myths, legends, and fantasy
stories
neodadaism A minor movement chiefly of the 1960s reviving some of the objectives of dada but
placing emphasis on the importance of the work of art produced rather than on the concept
generating the work
neoprimitivism An early 20th century art movement inspired by the native arts of Africa and the
South Sea Islands
neo-realism Any movement seeking to incorporate a modified form of realism, as in art, cinema,
literature, or philosophy
nickelodeon In the early 1900s, a motion-picture theater, variety show, etc. where admission was a
nickel (five cents)
nonobjectivism An artistic style that had no reference to recognizable objects; lines, shapes, and
colors were used in a cool, impersonal approach that aimed for balance, unity, and stability
op art “Optical art,” a style of abstractionism popular in the 1960s which made use of precisely
planned and positioned lines, spaces, and colors to create the illusion of movement
palette In art, a wooden board used for mixing colors for painting
performance art A form of theatrical art featuring the activity of the artist and works presented in a
variety of media
perspective The art of picturing objects or a scene in such a way as to show them as they appear to the
eye with reference to relative distance or depth
photomontage A combination of several photographs joined together for artistic effect or to show
more of the subject than can be shown in a single photograph
pictograph A written or drawn symbol that conveys its meaning through its visual resemblance to a
physical object
pigment A dry insoluble substance, usually pulverized, which when suspended in a liquid becomes a
paint, ink, etc.
playwright A writer of plays; dramatist
plotter A computer printer for printing vector graphics
pop art A form of art that depicts objects or scenes from everyday life and employs techniques of
commercial art and popular illustration
proportion A principle of art having to do with the relative size and positions of components in an
artwork; also called “scale”
rhythm A principle of art resulting from the repetition of elements or components of an artwork in a
specific pattern
satire A genre of literature, visual art, and performing arts in which shortcomings, vices, and abuses
of a certain segment of society are presented humorously in order to urge improvement
shutter In photography, a device for opening and closing the lens of a camera to expose the film
inside it to light
slapstick comedy Broad comedy characterized by boisterous action
snapshot A photograph, usually taken quickly and spontaneously
social realism Art used to comment on or protest against social ills such as injustice, inequality, war,
poverty, industrial hazards, environmental destruction, etc.
stencil A sheet of material that has been perforated with a pattern; ink or paint can pass through the
perforations to create the printed pattern on the surface below
178
still life A work of art in which ordinary household objects such as vases of flowers, plates, fruit,
food, and the like are depicted as the main subject
street theater The presentation of plays or other entertainment by traveling companies on the streets,
in parks, etc.
stucco A material made of lime, sand, and water used as a decorative coating for walls and ceilings
surrealism A style of painting depicting strange subjects like those seen in dreams and fantasies
symmetrical Having both sides of an object identical or very similar to one another, creating a sense
of balance
tablet A mobile computer with a touch screen display, circuitry, and battery in a single unit
tactile Perceptible to the sense of touch; tangible
texture An element of art having to do with the roughness or smoothness of an artwork’s surface
three-dimensional Having three dimensions: length, width, and depth
two-dimensional Having two dimensions: length and width
unity A principle of art referring to the integration of all the components of an artwork to create a
meaningful whole
value An element of art referring to the lightness or darkness of a color

variety A principle of art referring to the use of differences or modifications to create visual interest
viewfinder A device on a camera that indicates, either optically or electronically, what will appear in
the field of view of the lens
virtual Existing in the mind or the imagination, or in electronic data form
zarzuela A Philippine adaptation of the European opera, highly popular during the late 1800s to the
early 1900s
ARTS PRONUNCIATION GUIDE

Artists’ Names
Cezanne – say-ZAHN
Delacroix – deh-lah-KRWAH
Manet – mah-NAY
Monet – moe-NAY
Renoir – ruhn-WAR
Van Gogh – van-GO
Art Terms
aesthetic - es·thetíc
celluloid - sel´lu·loyd
cubism - kyu´bism
fauvism - fovísm
genre - zhon´r
montage - mon·täzh´
surrealism - sur·reál·ism
179
MUSIC BIBLIOGRAPHY
Books
Abraham, Gerald. The Concise Oxford History of Music. Oxford: Oxford University Press,
1990.
Ainsley, Robert (ed). Classical Music. New York: Smithmark Publishers, 1995.
Alberti, Luciano. Music of the Western World. New York: Crown Publishers, Inc. 1974.
Bartok, Bela . Album of Selected Pieces for the Piano, Volumes I and II. Compiled and
Arranged by Katherine K. Davis. Copyright by E. C. Schirmer Music Co.,
Boston,Massachusetts, USA.
Bonis, Ferenc. Bela Bartok. Budapest: Kossuth Printing House, 1981.
Burrows, John. (general editor). Classical Music. Introduction by Lady Solti. London:
Dorling Kindersley Limited, 2005.
Cultural Center of the Philippines. Encyclopedia of Music,
Cultural Center of the Philippines Library. Souvenir programmes.
Debussy, Claude. Preludes pour Piano. France: Durand et Cie, 1910..
Gershwin, George. Rhapsody in Blue. London, England: Chappel and Co., Ltd.
Guevara, Amelita D and Sternberg, Kathy (co-ed). Pag-ibig Song Book. Manila: The Manila
Symphony Society, 1986.
Miller, Hugh M. Introduction to Music. New York: Barnes and Noble, Inc. 1971.
Morgan, Robert P. Twentieth-Century Music: A History of Musical Style in Modern Europe and
America. New York/London: W.W. Norton and Company, 1991.
Prokofieff, Serge. 3 Concerto pour Piano, Op. 26. New York: Boosey and Hawkes, Inc., 1947.
Randel, Don Michael (compiled). Harvard Concise Dictionary of Music. London, England:
The Belknop Press of Harvard University Press, 2000.
Rimm, Robert (introduction). Twentieth Century Piano Classics. New York: Dover
Publications, Inc., 1999.
Romualdez, Norberto (ed.). The Philippine Progressive Music Series. New York: Silver
Burnett Company, 1950.
Sadie, Stanley and Alison Lathan (eds.). The Cambridge Music Guide. New York: The Press
Syndicate of the University of Cambridge, 1985.
Salzman, Eric. Twentieth-Century Music: An Introduction. Englewood Cliffs, New Jersey:
Prentice Hall, 1967.
Siegmeister, Erie. Invitation to Music. New York: Harvey House, Inc., 1962.
Schoenberg, Harold C. The Lives of the Great Composers. New York: W.W. Norton and
Company, 1981.
Slonimsky, Nicolas. The Concise Baker’s Biographical Dictionary of Musicians. New York:
Schirmer Books, 1986.
The Best of Broadway Songs Ever. Wisconsin: Hal Leonard Corporation.
University of the Philippines College of Music Library.
Online references
www.everynote.com
www.imlsp.com
www.naxosmusiclibrary.com
www.icking-music-archive.org
www.filipinaslibrary.org.ph
180
ARTS BIBLIOGRAPHY
Books
Duldulao, Manuel D. Contemporary Philippine Art. Vera-Reyes, Inc. Quezon City, Philippines.
1972.
Fleming, William. Arts and Ideas. Holt, Rinehart and Winston. New York. 1980.
Gatbonton, Juan T., Jeannie E. Javelosa, Lourdes Ruth R. Roa, eds. Art Philippines.
The Crucible Workshop. Pasig City, Philippines. 1992.
Time-Life Library of Art. The World of Cezanne. Time Inc., U.S.A. 1971
Time-Life Library of Art. The World of Delacroix. Time Inc., U.S.A. 1971
Time-Life Library of Art. The World of Manet. Time Inc., U.S.A. 1972
Time-Life Library of Art. The World of Monet. Time Inc., U.S.A. 1972
Time-Life Library of Art. The World of Picasso. Time Inc., U.S.A. 1972
Time-Life Library of Art. The World of Van Gogh. Time Inc., U.S.A. 1971
Online references
The Ateneo Art Gallery – http://www.ateneoartgallery.org/

The Center for Art and Thought – http://www.centerforartandthought.org/
Deviant Art – http://www.deviantart.com/browse/all/digitalart/
Yuchengco Museum – http://yuchengcomuseum.org/
Animation Council of the Philippines – http://www.animationcouncil.org/

Philippine Animation Studio Inc. – http://www.pasi.com.ph/flash/
Kenneth Cobonpue - www.kennethcobonpue.com/

Rajo Laurel – http://www.rajolaurel.com/
Monique Lhuillier – https://www.moniquelhuillier.com/
Josie Natori – http://www.natori.com/
Dita Sandico-Ong – http://dittachannel.com/intro/
Lulu Tan-Gan – http://www.tan-gan.com/
George Tapan – https://www.facebook.com/georgetapan

John K. Chua – http://adphoto.com.ph/photographer_profile/id/2
Federation of Philippine Photographers Foundation (FPPF) –
http://www.photoworldmanila.com/about-fppf/
Twine – http://twinery.org/
Stencyl – https://www.udemy.com/create-your-first-computer-game-with-stencyl/
GameMaker – https://www.yoyogames.com/learn
http://www.instructables.com/id/How-To-Make-A-Pinhole-Camera/
http://www.digitalcamerareview.com/default.asp?newsID=5464&news=how+to+take+great+pictu
res+with+your+point+and+shoot+camera
http://digital-photography-school.com/megapost-learning-how-to-use-your-first-dslr/
http://www.wikihow.com/Use-Your-Digital-Camera%27s-ISO-Setting
181

Music and Arts 10 TG

Încărcat de

Informații document

Drepturi de autor

Formate disponibile

Partajați acest document

Partajați sau inserați document

Opțiuni de partajare

Vi se pare util acest document?

Este necorespunzător acest conținut?

Drepturi de autor:

Formate disponibile

Music and Arts 10 TG

Încărcat de

Drepturi de autor:

Formate disponibile

HORIZONS

Music and Arts Appreciation

Raul M. Sunico, Ph.D.

Philippine Copyright 2015

Coordinator: Evelyn F. Cabanban

Cover Design: Rowena E. Cabanban

Quarter I MUSIC OF THE 20th CENTURY ............................................... 1

Impressionism to Modern Nationalism ........................................... 2

Electronic Music and Chance Music................................................. 12

Quarter II AFRO-LATIN AMERICAN AND POPULAR MUSIC.............. 19

African Music and Latin American Music........................................ 20

Jazz, Popular Music, and OPM .................................................... 29

Quarter III CONTEMPORARY PHILIPPINE MUSIC ................................. 36

Traditional Composers ............................................................. 37

New Music Composers ............................................................. 46

Song Composers ............................................................. 53

Quarter IV 20th and 21st CENTURY MULTIMEDIA FORMS.................... 61

Opera in the Philippines.................................................................... 62

Ballet in the Philippines .................................................................... 71

Philippine Musical Plays................................................................... 78

Quarter I MODERN ART ............................................................................... ..90

Quarter II TECHNOLOGY-BASED ART ................................................... 117

Computer / Digital Art ................................................... 118

Quarter III MEDIA-BASED ARTS AND DESIGN

Photography ...................................................................................... 138

Quarter IV ORIGINAL PERFORMANCE

Philippine Theater and Performing Groups ..................................... 163

Music Glossary ........................................................................................................ 172

Arts Glossary .......................................................................................................... 176

Music Bibliography ................................................................................................. 180

PHILOSOPHY AND RATIONALE FOR MUSIC EDUCATION

Figure 1. The Curriculum Framework of Music and Arts Education

Grade 12Mastery of Proficiency in the chosen form or genre

Grade 11Mastery of Proficiency in the chosen form or genre

Grade 10Application of Contemporary Music and Arts

Grade 9Application – Western Music and Arts

Grade 8Application – Asian Music and Arts

Grade 7Application – Philippine Folk Music and Arts

Grade 6Application for Appropriate Mastery and Acquisition of Skills

Grade 5Exploration – Elements / Processes

Grade 4Formal Introduction to Elements / Processes

Grade 3Preliminary Acquisition of Basic Knowledge and Skills

Grade 2Enhanced Understanding of Fundamental Processes

Grade 1Introduction to the Fundamental Processes

KindergartenExposure to the Different Music & Art Processes

Figure 2. Content of Music and Arts per Grade Level

Table 1. Basic Reference for Music Content

Music Elements Music Processes

*No formal instruction in harmony

KEY STAGE STANDARDS:

GRADE LEVEL STANDARDS:

Grade Level Grade Level Standards

PHILOSOPHY AND RATIONALE FOR ARTS

Figure 1. The Curriculum Framework of Music and Art

Grade 12Mastery of Proficiency in the chosen form or genre

Grade 11Mastery of Proficiency in the chosen form or genre

Grade 10Application of Contemporary Music and Arts

Grade 9Application – Western Music and Arts

Grade 8Application – Asian Music and Arts

Grade 7Application – Philippine Folk Music and Arts

Grade 6Application for Appropriate Mastery and Acquisition

Grade 4Formal Introduction to Elements / Processes

Grade 3Preliminary Acquisition of Basic Knowledge and

Grade 1Introduction to the Fundamental Processes