That’s Art, So What?

Functions, Relevance and

Chapter 1
Significance

Intended Learning Outcomes:At the end of this chapter, the students are expected to:

1. relate the role of art as a tool to aid human limitations

2. challenge one’s critical thinking skills through creative ways of confronting life’s
problems
3. practice the art of criticism and analyzing artwork; a skill that can be applied to other
areas of thinking;
4. inculcate values and humanistic attitude toward art
5. experience how art communicates colors, symbolic quality of shape, line movement,
quality of texture, the drama of lighting, and many others;
6. read design principles and create some work that are thought-provoking, well-thought
of, and show some technical knowledge;
7. apply the knowledge of art history to the changing landscape of the art scene;
8. relate art history to significant events that transpired in the last few decades;
9. critic art with the different methodologies of looking art and reading art
10. appreciate the lives of artists and craftsmen: why they create art and for whom
11. become aware of issues surrounding the lives of artists and relate to own set of
experiences;
12. develop an attitude of inclusivity when it comes to artists, especially those with
physical disabilities and mental incapacities
13. reflect on the importance of art critics when it comes to educating ourselves with
taste
14. compose for oneself a set of standards for individual taste
15. influence one’s mindset to the idealistic qualities of art and the practical reality of
economics

1.1 What is Art to Me? Understanding How Art Can Meet Some Human
Needs

In this lesson, you will learn and relearn the value of art in our lives. Even if you are
not an artist, you will understand that the arts are actually meant to aid some
human limitations that we have often ignored or set aside because of so many
distractions in our generation today.

Do you agree with the assumption that our generation today is called the “anxious
generation”? When you talk to those who were born during age of “baby boomers”, most
of them would probably describe a life formed out of simple choices to make: go to
school, study, work and get married. However, the times today pose a stark contrast to
such simplicity. We have never been so detached from the primary values of humanity:
we are often distracted by illusions and “ideal lives” that the internet age suggests.
 Inspired by the book “Art as Therapy” by Alain de Boton, this version of the seven
functions of art are common human experiences with which, I believe, we as Filipinos can
mostly adhere to.

1. Beauty

Why do you think some people hang artworks on their wall? What is the most
common answer? The connotation of beauty is a debatable topic, but let us talk about
prettiness and the aesthetic value of art. One of the innate qualities that “pretty art” can
give is that it makes our dull, lifeless walls come to life. Though we have different notions
of beauty, still it is a common denominator when we are talking about appreciating forms
of art. Beauty makes sense to most of us.

2. Happiness and Hope

There is something about art that mirrors the soul of those willing to confront it.
In a societal tone, artworks tend to echo hopes and anxieties of an age. There is a wide
range of properties of art why it gives a sense of joy and hope to its audience.

Illustration: When paintings are placed in a daunting environment such as hospitals

3. Identity and understanding the self

Today’s generation being the “me” generation, is also sometimes tagged as the
“anxious generation”. A lot of social issues evidently reflect this struggle for identity:
gender issues, disconnectedness brought on by social media, regionalism, and even
mental health issues.

How do you think art can be a tool to address such challenges? Do you agree that
we need something outside of us and tangible enough to define what we are feeling and
struggling against? Art can serve as a powerful tool to help us communicate and relay our
confusion. Even psychological interventions use art therapy to aid in processing some
sensitive experiences.

4. Grief and healing

Many of the most poignant and humanistic products of art were made after the
World War II. Twentieth-century art mostly expressed human suffering and darkness in
its themes. Throughout the years, artists have interpreted these shared human
experiences in different ways, which also help us process our grief. Some may use art as
a tool to express pain and process it in therapy.

Illustration: Artists such as Rachel Whiteread talked about this haunting remembrance of
holocaust victims in her work “Ghost Library.” She used an experiential type of artistic
expression, exploring the themes of place and memory in an architectural setting.

5. Remembering and mark-making

How do you think has art helped us remember? How have artists shaped our
landscape? The monument of Rizal in Luneta Park is one example of a type of art that
helps us remember. Without the tangible characteristic of art, we will not be able to

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sustain our nationalistic values well enough. We have pictures, films, and paintings that
depict heroism and nationalism.

Illustration: “Angel of the North” by British sculptor Antony Gormley and Anish Kapoor’s
“Cloud Gate” in Chicago.

6. Raising awareness

Have you seen large sculptural effigies (those papier-mache-made-to-be-burned

protest) during rallies in Manila? Some art can be categorized as activist art. But not all
are as loud and garish. Some are subtle paintings which might use satire. In the
Philippines, many socially-concerned artists have emerged in the age of modernism
portraying politicians and the government system in their most hateful actions.

Illustration: Stained glass windows of Gothic churches and their illuminated manuscripts

7. Culture and togetherness

Lastly, forms of art are often localized so that they bring identity also to certain
regions. This is very evident here in the Philippines, which is geographically separated by
thousands of islands-we are very regionalized.
In a way, there is a sense of redemption for the past weakness of Philippines when the
Spaniards strategized the divide and conquer method.

Illustration: Do you remember the national costume of Miss Universe 2019? Here, we
see how reigning queen Ms. Catriona Gray wore the “whole Philippines”, symbolically
uniting us through her Luzon-Visayas-Mindanao-inspired national costume.

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 Module GE 6 Name: ____________________________________________
Activity No. 1.1.1a Program/Year: ____________Date Submitted: ___________

Local Art and Culture Center Visit (E-Tour/Local On-site Visit)

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ Visit a local art and culture center. It may be a pottery-making place, a local art
gallery, school exhibit, a cultural event, a museum, or local arts and crafts store,
or simply a natural site.
▪ Observe what is happening. Observe the processes that the artists or craftsmen
are involved.
▪ If not applicable, due to our present situation, simply reflect on your experience
of the space or site. Take note of the Guide Questions below as you conduct your
activity.
▪ Please be guided with the scoring rubric below.

ANALYTIC RUBRIC
CATEGORY EXEMPLARY (4) Good (3) Marginal (2) Unacceptable (1)
1. Quality of Information clearly Information clearly Information clearly Information has little
Information related to the main relates to the main relates to the main or nothing to do with
topic and addresses topic. It provides at topic. No details the main topic or
concepts, information. least 1 supporting and/or examples simply restates the
It includes several detail or example. are given. Provides main concept. It does
supporting details Occasionally documentation not advance the
and/or examples. provides when requested. discussion. Does not
Consistently documentation. provide
establishes source documentation for
documentation for sources.
ideas.
2. Critical Enhances the critical Responds to other Limited Responds to the
Thinking thinking process members of the interactions or discussion facilitated
consistently through online community. responses to other only.
reflection and Reflects on own members of the
questioning of self and practices. online community.
others; Is a quality
response that
advances thoughts
forward; adds to the
discussion/is a critical
response.
3. Professional Professional Professional Professional Professional
Language vocabulary/and vocabulary and vocabulary and vocabulary and
writing style are used writing style are writing style are writing styles are not
consistently used frequently used occasionally used.
throughout the throughout the throughout the
discussion. discussion. discussion.
4. Timeliness The output is The output is The output is The output is
posted/sent/submitte posted/sent/submit posted/sent/submi posted/sent/submitt
d a day before the ted on the deadline. tted a day after the ed a day 2 days or
deadline. deadline. more after the
deadline.

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 Module GE 6 Name: ____________________________________________
Activity No. 1.1.1b Program/Year: ____________Date Submitted: ___________

Local Art and Culture Center Visit (Analysis)

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Analysis Guide Questions:

A. What did you see? Enumerate 5-10 things that were most notable in the place.
Describe them briefly.

B. Describe your visit: How did it awaken your senses? Did you feel relaxed, excited,
curious, or intrigued?
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C. Why is this industry of making art or other cultural materials in your place? When did
they start? Why do they do it and keep at it? (You modify and fit these questions to
your chosen venue).

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 Module GE 6 Name: ____________________________________________
Activity No. 1.1.2a Program/Year: ____________Date Submitted: ___________

A. Comparing and Contrasting Works of Art

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ Observe Francisco Goya’s “The Third of May 1808.”
▪ Compare and contrast the work with Juan Luna’s “Spoliarium” (research this
artwork online).
▪ Do not mind the historical context of the work yet. Just try to observe each one.
▪ Discuss the possible interpretations of the paintings.
▪ Try to think of all the factors involved in creating it and list down the parallelisms
you can find.

Francisco Goya’s “The Third of May 1808”

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 Module GE 6 Name: ____________________________________________
Activity No. 1.1.2b Program/Year: ____________Date Submitted: ___________

B. Comparing and Contrasting Works of Art

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

ANALYSIS:
▪ Answer these Questions in discussion and write down your answers on the space
provided.

1. What kind of event is being portrayed in the paintings? What emotions are the
artists trying to evoke? For what reason?

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2. As mere, frail human beings, why do you think we have such artworks to process
the emotion?

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3. How did the artists elicit the emotions of the narratives through the subject
matter?

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 Module GE 6 Name: ____________________________________________
Program/Year: ____________Date Submitted: ___________
Activity No. 1.1.3

My Art Encounters
𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:

▪ As an individual who has gone through a specific set of experiences, what kind of
art would you make?
▪ What do you want to share to others?
▪ What do you want to awaken in them?
▪ Is there something you would like to remember? Or would you like your audience
to just take pleasure in the aesthetics of what you have created?
▪ Remember, there is neither right nor wrong answer for artistic interpretation (can
be made or captured e.g., photo).
▪ The goal is to express something of relevance to you as a person (even to your
artistic taste) in a visual form. You do not have to present this to others; it can be
just a personal record.

Artwork: Paste here your simple drawing, an artwork of any medium, or a

photograph that best represents your answer to the guide questions above.

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1.2 How Do I Study Art?: Making Art

This lesson will cover three topics: Elements and Principles, Design Psychology, and
Materials and Techniques. These are meant to help you gain first-hand experience
on the creative process and what goes on inside an artistic pursuit.

Have you ever watched something being made a time-lapse of a building

construction, a short video on how to bake muffins, a potter spinning his wheel and
pulling up clay into the shape of a vase? There is something satisfying in seeing these
processes and how things are created.

❖ Art Elements and Principles

Elements of art are the formal or tangible aspects of art. These are termed as
elements because they are the “medium of language” of visual arts.

a. Line- can be expressive and have a quality, of its own like: scribbles, whimsical or
naive lines, implied, blurred lines (smudged, shaded or erased), aggressive and
calligraphic lines.

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 b. Shape- can also be implied (shapes produced by negative space). There are three
basic kinds of shapes:
▪ geometric-of or relating to art based on simple geometric shapes such as
straight lines, circles, or squares
▪ biomorphic-resembling or suggesting the forms of living organisms
▪ amorphous- having no definite form

biomorphic geometric amorphous

c. Form- can refer to the quality or likeness of an entire mass, let us say the form of
woman. It is a three-dimensional shape and it employs several techniques like
shading, perspective and lighting.

d. Value- the lightness and darkness of a hue or color. It is often represented in a

tonal value scale and it has two parts: the tints (lighter tones) and the shades
(darker tones). A tone is a general term for a certain value.

Tints Shades

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 e. Color- This is also known as hue. Scientifically, it is the light that bounces off a
surface. In art we use:
▪ subtractive colors, i.e., colors that are from pigments.
▪ additive colors, i.e., property of light

f. Texture- can be used in paintings like impasto, stamping, and scratching in

pottery, embossing when making prints, and many others. Contemporary artists
have also used the element of texture to convey a certain emotion.

g. Light- creates the illusion that color, form and texture exist. Light can be implied,
natural or artificial (as with a digital rendition). The lighting of an artwork has a
very strong effect on its overall impact. An example of strong and theatrical
lighting is called chiaroscuro. Without light, all the previous elements will not be
possible.

h. Space- an area where other elements can interact. There are two types of spaces:
▪ Positive space- is best described as the areas in a work of art that are the
subjects, or areas of interest
▪ Negative space- is area around the subjects, or areas of interest

o Double Negative space refers to a blank space used as negative space by,
let us say, a field or color or pigment.

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What is representational, abstract, and nonrepresentational art?

▪ Representational- it mimics what is real or what can be seen and the image is
recognizable as interpreted by the artist.
▪ Abstract- a modified interpretation of something that exists, but it becomes
hardly recognizable.
▪ Nonrepresentational- purely concerned with forms, shapes, colors, and the rests
of the elements. It does not represent any other subject matter outside of itself.

After learning about the elements, let us now study how they interact with each
other in some of our favorite art works or designs.

❖ Principles of Design- long held composition techniques which have been proven
and sed by both fine and graphic artists to communicate ideas and concepts
effectively.

Contrast Design principle which uses the

element of value to create depth and
dimension and light also plays an
important role in creating good
contrast.
Harmony Elements are related to each other in
terms of form, color, theme, etc.
Balance Aesthetic quality of work marked by a
(Symmetrical and Asymmetrical) sensible balance between two areas:
right and left: top and bottom.
Rhythm and Movement Creating a sense of direction through
repetition of elements. Movement
direct the viewer’s eye toward
something.
Unity and Variety Elements should be seen as a whole
in unity; variety still gives a sense of
wholeness but the elements differ in
some aspects and provide more
interest to the work.
Emphasis and Subordination An area or a specific subject is given
focus; hence other parts of the
picture are subordinated.
Scale and Proportion This can be either an appropriate use
of scale and proportion or it can also
be an effective way of changing the
scale to achieve a certain visual goal.
It also shows relationship between
the object and the space.
Depth and Perspective Shows three-dimensionality of a
space through the use of perspective
lines and vanishing points.

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Psychology in Art

Why include this idea in the study of art-making? Relating art on how the brain
receives and interprets symbols and images can benefit one’s decision in effective
composition and visual communication. Art, in a way, is a method of psychology and in
understanding how people perceive images, create meaning and connect those meanings
together.

Gestalt Theory-tends to “sum up” an idea into one iconic imagery. It often plays with the
negative and positive space and makes use of both.

Color Psychology- Colors have imbibed certain meanings, whether it is a social construct
or a product of association, these hues certainly appeal to our understanding of the world
based on how they are used.

Ex.
WHITE: YELOW: VIOLET: BLACK:
Pure, pristine, clean Optimism, Royal, luxury, Glamor, integrity,
and neutral confidence, hope, quality, stability, efficiency,
friendliness authenticity status
RED: GRAY or SILVER: PINK:
BLUE: Strength, power, Neutrality, Childish, comfort,
Trust, longevity, reliability, warmth, cleanliness, classy, fragrant, friendly,
formal, logic, calm, nature, heat, dependable, sturdy calm and innocent
cool, serene, support and
intelligence and seriousness
communication

Compositional Function of Lines and Shapes

A composition is basically how the element are arranged in space with the
intention of artistic expression. Here are some compositional devices used by classical
artists and are still evident these days:

a. A half circle, often used in domes for some classical paintings and even modern
architecture, symbolizes feminity because of its womb-like shape. Since it has no
corners, it also resonates eternity. Socialism in art has a different connotation for
the circle, which states about people’s equality.
b. A triangle, when use in a composition suggests relationship. In Leonardo Da Vinci’s
“Madonna of the Rocks” the triangular arrangement of the figures, with the
Madonna at the apex may suggest stability and inclination toward the central
figure.
c. An implied line or line movement in a painting may intentionally lead the viewer
to a focal point of the subject matter.

o Categorizations of art exploring materials and techniques:

1. 2-Dimensional: photography, drawing, painting, printmaking, etc.
2. 3-Dimensional: found objects, casting and molding, subtractive
and additive sculpture
3. Ephemeral: performance art and video art

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 Module GE 6 Name: ____________________________________________
Activity No. 1.2.1 Program/Year: ____________Date Submitted: ___________

Making Art
𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ Draw a tree with different methods:
o Draw using your non-dominant hand.
o Draw in a square world where everything is square
o Draw using continuous lines.
o Color only the outside of the lines.

I. ANALYSIS:
*In the activity, did you observe how a simple change in how you interpreted a
simple object gives a different dimension to the subject matter? What does each
box, with the tree, remind you of after doing the exercise?
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 Module GE 6 Name: ____________________________________________
Activity No. 1.2.2 Program/Year: ____________Date Submitted: ___________

Examining Art
𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ Research one of these artists. Try to observe how they used paint in their
works. Simply focus on the techniques.

a. Jackson Pollock
b. Rembrandt
c. Vicente Manansala
d. Ang Kiukok

I. Analysis
*How did they treat the material? How would you describe their paintings in terms of its
aesthetic appeal to you?

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 Module GE 6 Name: ____________________________________________
Activity No. 1.2.3 Program/Year: ____________Date Submitted: ___________

Analyzing Design
𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:

▪ Consider these illustrations. Analyze why they fall short of good composition or
design.

*What is wrong with these designs?

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 Module GE 6 Name: ____________________________________________
Activity No. 1.2.4 Program/Year: ____________Date Submitted: ___________

Analyzing Art Principles

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ These are some artworks that effectively used some art principles.
▪ Describe each image and state why the use of a specific principle became
effective in increasing/improving the impact and quality of their works.
▪ See if you can also find more principles present in the work.
▪ Use the space beside each image to briefly state your answers.

Scale and Proportion

“Bukas na Lata”
Sculpture by Kat Grow

Harmony and Pattern

“Kayumanggi”
Graphic Design by Alyanna Villanueva

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 Module GE 6 Name: ____________________________________________
Activity No. 1.2.5 Program/Year: ____________Date Submitted: ___________

Creating your Own Logo, Emblem or Symbol

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ Create your own logo, emblem or symbol based on the guiding principles of art
and psychology.
▪ The image can be about a particular advocacy you want to promote, a tool or
gadget you envision creating in the future, or just simply you as a future
professional.
▪ What color would represent your envisioned brand? What would be the shape
and what does it symbolize? How would you compress information yet have a
strong impact in your imagery?
▪ Draw and color your branding or logo in the box provided.

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 Module GE 6 Name: ____________________________________________
Activity No. 1.2.6a Program/Year: ____________Date Submitted: ___________

Exploring Materials and Techniques

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ Explore Materials and Techniques by doing any of these activities.
▪ If the next procedures are not possible (e.g., you have no knowledge of video
editing), you may stick with the first procedure or activity.

1. Cover a bottle with different materials. Discover what you can use as long as it
can stick to the bottle. Use glue if needed. For ideas, you may cover with clay,
paper mache, sawdust, transparent material, decaying material, something
rubbery, etc. Create at least four variations of the covered object. Put the bottles
next to each other.

2. Photograph each bottle. Use lighting and explore backgrounds that can
complement your work. Just be experimental. Layout the photos together. How
do they look?

3. Create a 10 second clip or gif with a person interacting with the bottle.

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 Module GE 6 Name: ____________________________________________
Activity No. 1.2.6b Program/Year: ____________Date Submitted: ___________

Exploring Materials and Techniques (Analysis)

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ Reflect how different materials and techniques can change the character
and narrative of an object you are portraying. Answer the sets of questions below.

a. What do you think is the most dominant design principles in the set of bottles
you made?

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b. How did each covering change your perception of the bottle? Describe each
bottle:

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c. If you were able to reach until the third procedure, how did another approach
to art-making (filming) change the context and the function of the bottle? What
ideas were you able to come up with as you interacted with the differently
covered objects?

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1.3 How Do I Study Art?: Reading Art

In the first lesson, we will have a quick run through the historical markers in
the art scene. Through this, we can better understand the present and where
some analogies and appropriations in art came from. Weaved into this lesson
is the topic of Art Criticism that will help you and guide you in knowing what
kinds of works to select and hopefully enhance your taste in art.

History may be quite a sedentary topic, often associated with memorizing events
and becoming familiar with chronological events. However, if we want to have sensible
knowledge about art, it is appropriate to just look into the lens of the past. How can we
better understand the climate of art now if we do not know how it has been influenced
by artists who strove to evolve the meaning and expression of art?

Art period is a specific length of time in history with a prominent movement,

trend, or creed in artistic practice.

Art movements are sets of distinguishable styles and artistic tendencies often
characterized by a major trend techniques or approach.

This quick guide to Art History is intended to be brief and concise but should also
prod you into further exploration of some art periods.

Prehistoric:
▪ Cave paintings, Venus figurines which are considered portable sculptures
▪ Greek standard of beauty: the birth of the “Classical” Age
▪ Romans: the competitor of Greece; created realistic sculptures of human figure

Middle Ages:
▪ The “death” of artistic freedom due to canonical standards of visual interpretation
▪ The rise of Gothic art especially in Gothic Churches
▪ Popular art: Stained glass windows and illuminated manuscripts
▪ Expositions: A journey through Historical Time
o The Middle ages sometimes called the “Dark Ages” or the “medieval
period”, is a period in European history which encompasses nearly a
thousand years.
o There are no definite dates as to when it started and when it ended, but
the approximated dates are from 500 A.D. to 1500 A.D.
o It was an age of anxiety, corruption and uncertainty. The Roman Empire
has just collapsed and invasions from Germanic tribes, Magyars, Vikings
and Saracens were a regular occurrence.
o The Bubonic Plague (also known as the Black Death), caused a decline in
the population and de-urbanization of cities.
o In spite of these, there were still technological and cultural developments
throughout the European continent.
o People turned to God and to the church for guidance and enlightenment.
The intertwining of both faith and reason gave rise to scholasticism, and
also the establishment of the first universities.
o Feudalism was institutionalized in society. It was a time of the nobility, of
knights, chivalry, crusades and exploration.

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 ▪ Medieval Music
o The Christian Church shape the early history of Western music.
o The church supported and enriched music, art, architecture and other
fields of learning. Both composers and musicians got their training from
the church.
o However, there were also secular musicians-called minstrels, jongleurs,
troubadors and trouveres. These were itinerant poet-musicians travelling
from place to place composing and performing their own songs about
chivalry, crusader’s songs, unrequited love and laments for dead
heroes/heroines. They were the pop music idols of their day.
o There were two sides of musical performance during this era: sacred and
secular.
o Gregorian chant or plainsong is the vast collection of melodies designed
for religious texts used by the church for its services. It is called “Gregorian”
after Pope Gregory I (circa 504-604 A.D.). This label is quite misleading for
he did not compose a majority of these chants; but he just organized and
standardized these. These were extensively used for services, masses, and
other ceremonies.

Ex. Dorian, Phrygian, Lydian, Mixolydian, Locrian

Renaissance
▪ Revival of artistic genius
▪ Where the term “Renaissance Man” was derived because of man’s intellectual
achievements in the arts and science
▪ The time of “Masters” e.g., Donatello, Da Vinci, Michelangelo, Raphael, and Van
Eyck

Baroque: (Extravagant Exaggerations)

▪ The period in Western Europe spanning approximately the years 1600-1750 is
usually called the “Baroque” period.
▪ This term comes from the Portuguese word barroco, which refers to pearls of odd,
irregular shape.
▪ In Tagalog, the closest word we can associate with it is “barok”- usually referring
to a corrupted, disjointed way of speaking. The word “Baroque” was coined by art
historians and scholars.
▪ Grandiose and ornate art
▪ Artistic innovation: “spotlight effect” called chiaroscuro, or in extreme usage, it is
called tenebrism
▪ Artists to note: Caravaggio (Italy), Velasquez (Spain), Poussin (France), and
Antonio Gaudi (designer of “Sagrada Familia” chapel in Barcelona)
▪ Musical Life in the Baroque Period:
o Therefore, we may conclude that Baroque music was considered eccentric
and weird. However, this seemingly negative implications have changed as
the years passed by.
o Many familiar musical compositions to us come from the Baroque period.
o In today’s weddings, one can still hear Pachelbel’s ‘Canon in D’, AND
Vivaldi’s ‘Four Seasons’ can still be heard as background music in several
movies and television shows.

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 o During this period, composers were considered to be under the employ
and patronage of certain institutions where they could earn a living by
doing their craft.
o Being a Baroque composer was like being a servant under the authority of
a master. He was more a craftworker rather than a free-minded artist, who
could create music independently according to his inspiration, feelings or
whims.
o These institutions were:
1. The court- Basically means under the patronage of the royalty, from
kings, queens, princes, barons and other members of nobility.
Composers were commissioned to create works according to the
nobility’s wishes and purposes.
2. The church- As with the medieval period, composers, choir
directors, and/or church organists played an important role in
ensuring continuous output for church services and ceremonies.
3. The opera house- Opera was one of the leading musical genres of
the day, and many private entrepreneurs throughout the European
continent operate and maintained opera houses. This was like the
mainstream “pop music” during the time- the leading form of
entertainment. The first public theater opened in Venice, Italy, in
1637.
o A pervading sense of dualism can be outlined throughout the Baroque art,
that of, extravagance as seen in the absolutism of the monarchy, and that
of careful calculation as embodied by the advances in science.
o The contrast between these two elements- portrayed as loud versus soft
sounds, soloist versus ensemble playing; is an important element of
Baroque music
o Basso Continuo- also called “thorough bass,” a device where both the
melody and bass lines were written out by the harmonic filling in between
was done in shorthand symbols, usually, using numbers.
o Improvisation- Musical pieces during this period were usually devoid of
expressive markings such as dynamics and articulation and so musicians
had to improvise on the spot, much like what happens in today’s jazz
music.
o This was also evident in music; notes may be added or subtracted, rhythms
may be changed and passages may be extended into higher or lower
registers; as determined by the musician’s mood, creativity or
spontaneous artistry.
o The fugue- a musical device where a tune that begins a piece is repeated
by other voices or instruments, usually a fifth or a fourth below. It is a form
of imitative polyphony.
▪ In other fields such as science, discoveries were being made such as Copernicus’
heliocentric model, Leibniz and Newton’s forays into calculus and optics, the
invention of the earliest telescopes by Galileo and the first crude microscopes.
▪ These in turn spurred great philosophers such as Descartes, Hobbes, Locke and
Spinoza to perceive and think in new ways.
▪ This climate also stimulated other artists like Shakespeare and Rembrandt to
create masterpieces in literature and painting, respectively.
▪ Ornamentation- Baroque architecture was so elaborate and extravagant in may
small details, curves, embellishments and designs.

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19th Century:
▪ Emergence of “isms”
▪ Neoclassicism: Greek and Roman Classics revived
▪ Romanticism, Realism, Art Nouveau, Impressionism
▪ Photography comes into the scene
▪ Post impressionism, early expressionism and symbolism

20th Century Modern Art:

▪ Art became more non-representational
▪ Garish colors explored in Fauvism
▪ Abstracted sculptures emerged
▪ Simplified forms in paintings by Picasso and Matisse
▪ Art movements: Cubism, Futurism, Constructivism, Expressionism
▪ Mondrian’s purely geometric art

Art During the Wars:

▪ Dadaism: the art movement that defies logic
▪ Surrealism: stepping into the dreamworld
▪ American art blossoms: Jackson Pollock became famous as “Jack the Dripper” and
paved the way for American Abstract Expressionism
▪ Mobile Sculptures (Alexander Calder) and Color Field (Rothko) paintings also
became prominent

20th Century to Contemporary

▪ Highly experimental and radical
▪ Pop art defines consumer culture; dominated mostly by works of Any Warhol
▪ Minimalism: glorifying the simplest art elements
▪ Birth of conceptual art
▪ Photography is further developed which paved the way to art movement,
Photorealism
▪ Neo-expressionism or new expressionism is characterized by strong subject
matters
▪ Contemporary Art: a very diverse art scene; the rise of appropriation,
photography-derived works, graphic style of art, experimental works, multimedia
and multi-modal art

Art Criticism

Methods in Reading Art:

Method- Think of methods as filters that help you appreciate aspects of art in different
lenses. There are more “filters “that are more effective than others, especially when we
talk about context and content.

Depending on what the art is talking about and where it is from, we can read it in non-
biased way through these approaches:

1. Formalism and Style-basically gives importance to the formal qualities (art

elements, materials, and design principles) as basis for the meaning of art. Roger

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 Fry is a major purveyor of this thinking. The form is the content per se and does
not take history and context into account.

2. Iconography- Focuses on the subject matter primarily over the form. When using
this method, you will answer questions like: who is this person the artist painted
and what does it represent? Why did the artist choose this image and what for?

3. Contextual Approaches- From the term itself, context becomes an important

factor in criticizing artworks here. We can take may approaches to contexts like
Marxism, Orientalism, Colonialism, Racial Iconography, Feminism, and Gender.

As you can observe, these are mainly schools of thought and philosophical
movements which place an artwork within a certain parameter.

Ex. Marxism is about art in relation o economics. On the other hand, Feminism is
bent toward the societal context of art wherein gender becomes a strong factor
in the forces behind the artistic creation.

4. Biography and Autobiography- Considers the life and context of the artist. This
approach is based on the assumption that the artist’s life, beliefs, choices and
personality are directly connected to the works that he or she creates.

5. Semiotics- From the Greek word “sema”, which means sign. Hence, an artwork or
art form is assumed to be compose of a set of signs that may be have significant
cultural and contextual meanings beyond itself.

6. Psychoanalysis- Freud is probably a familiar name in the field of psychology and

he is one of the basis of this theory. In psychoanalysis, one is concerned about the
unconscious mind in relation to the artist, the viewer, and the cultural context it
is involved in.

7. Aesthetics and Psychoanalysis- Individual notion of what is considered

acceptable, beautiful, or attractive in works of art are in part influenced by
psychological factors. This approach then connects psychology to one’s
constructed philosophy of art.

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 Module GE 6 Name: ____________________________________________
Activity No. 1.3.1 Program/Year: ____________Date Submitted: ___________

A Glimpse of Art History

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ To make this learning about art history more intentional, let us further process
and assess the information provided previously. Learn more about some of the
art periods through this activity:

1. Split the class into groups of 8. (employing various online media available)
2. Assign each member of the group with the particular art period.
3. Search books, e-books or you may refer to the pdf provided about the assigned
topic. Then, collect 2-4 pictures that would best represent each art period. Do
not collect more than four. Pick artworks that intrigue you and that which you
will be able to discuss to the e-class. The objective is for the students to become
familiar with the historical period where the artwork belongs.
4. Compile the works (in no particular order) in either of these formats:
▪ PowerPoint slides
▪ Picture booklet

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 Module GE 6 Name: ____________________________________________
Activity No. 1.3.2a Program/Year: ____________Date Submitted: ___________

Art Critique
𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ Let us say we are in a gallery. There is a particular work that strikes you. The
curator comes to you and asks you how he may help you. You don’t know exactly
where to start with your queries. How do you actually read an artwork? You just
know that you like it. Some people have a background in psychology or art
criticism that makes them familiar with semiotics (study of signs). But what if you
have none of those?
▪ Let’s say that this artwork below is what you saw.

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 Module GE 6 Name: ____________________________________________
Activity No. 1.3.2b Program/Year: ____________Date Submitted: ___________

Art Critique (Analysis)(continued)

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ Now, critique the work based on the following. Write your answers on
the spaces provided.
1. Formal qualities: simply enumerate the elements that you see: the quality
of lines, shapes, colors, etc.
____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________
2. Subject matter: What is the artist tackling about? Can you see any
representational forms? If none, what do you think is the main subject
matter?
____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________
3. Composition: Consider the arrangement of objects, people, or elements.
What is most prominent? Who or what is on the foreground, middle
ground, and background?
____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________
4. Technique: Looking at the technique and manner of painting and
composition, how is it related to the artist’s objective?
____________________________________________________________
____________________________________________________________
____________________________________________________________

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 Module GE 6 Name: ____________________________________________
Activity No. 1.3.2c Program/Year: ____________Date Submitted: ___________

Art Critique (Analysis)(continued)

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

5. Content: What do you think the artwork is all about after carefully examining its
parts? What story, what message, and what argument is the artist trying to tell?

____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________________________________________________

6. Analysis: Further dig into the artist’s intention in terms of the relationship of each
part to the whole. Keep asking why, and try to answer them based on visual clues.
Research further if needed, especially if there is historical connection.

____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________________________________________________

7. Your won criticism about the work: provide a coherent and convincing judgment
about the work.

____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________________________________________________

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1.4 Who is an Artist?

As much as master artworks tell us a lot of stories, the lives of artists are also as
colorful and mysterious. Studying their struggles, issues, and victories can enhance
the way we view art and life in general. Through this lesson, we will understand
and appreciate the lives of the artists and craftsmen; why they create and for
whom?

“…there is an art of the future, and it is going to be so lovely and so young that
even if we give up our youth for it, we must gain serenity by it”, Vincent Van Gogh in his
letter to his brother, Theo.

Why did Van Gogh dedicate so much of his life to the future achievements of art?
His presence is now often seen in restaurant interiors, in the web, and even in novelty
items. The prince of his works has skyrocketed to millions of dollars. His renowned, and a
favorite of most., “Starry Night” rings a bell to a lot of people.

Artists then have a certain kind of power. It does not lie on money or politics, but
on his or her capacity to influence. The question now is, for what purpose will that power
be used?

On the other hand, behind Van Gogh’s artistic achievement was a history of
struggle over whether his art would really matter later on. He was also human. He never
saw the pinnacle of his artistic career in his lifetime, but he had a vision and artistic
mission that we all benefited from.

The Artistic Process

Artists are also thinkers and even great inventors and scientists. The creative
process is also a problem-solving approach involving lot of systems of knowledge. Art can
cover lot of subject matters from science, philosophy, and even practical living. It can also
be applied to such areas of knowledge.

As Einstein said, “After a certain high level of technical skill is achieved science and
art tend to coalesce in aesthetics, plasticity and form. The greatest scientists are artist as
well.”

This diagram comprises the elements that tie-up together in the conception of a
tangible art form.

How: the
techniques and
materials involved;
the process
What: the subject involved Why: the narrative
matter, the content behind the subject
of the work matter; the
concept and
ART underlying
significance

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Rivalry, Envy and Artistic Preferences
The issue of rivalry and comparison is not new to the art scene. This may sound
negative, but it can actually yield t positive things. Let us take for example the rivalry
between Leonardo and Michelangelo. What they were arguing about actually gives us a
broader understanding of the arts.
We cannot say that one artistic process is better than the other, but we can truly
see that both resulted in major contributions to the development of Visual Arts. In
addition, lots of artists can become discouraged by envy, especially if the envied person
seem to be way ahead of his contemporaries. However, envy can have a constructive
effect if taken in a different way. As a famous adage says “good artists copy, great artists
steal.”

Inclusivity of Artists
Artists are also subject to human frailties. There is Chuck Close’s paralysis., Van
Gogh’s mental health condition, and Jackson Pollock’s problem with chronic drinking
which caused his death.
Working with art is not always working on a dream job: setting up an easel in a
studio overlooking a breathtaking view. It is actually the very opposite. It is daily wrestle
between survival and passion. It does not always promise monetary returns, often side
jobs are needed to survive a life as an artist, especially in third world country as ours.
Hence, the pressure of the life along with the demands of art-making are cause some
psychological and physical stress to the artist’s life.
Democratization of culture, which is evident in the 2019 edition of the cultural
center of the Philippines (CCP) Encyclopedia, has blurred the line between high and low
art. Hence, we should also strive to change our attitude toward those are considered the
elite of the art scene because of their educational backgrounds and those who were not
privileged to obtain a degree but are prolific in their own art-making. The craftsmen’s
craft and the non-degree holder artist deserved the same value or valuation as those
given to works hanging on the pristine white walls of museums and galleries.

Added insight: valuing of Artist’s process and Work through Money

We have seen how in the latter part of van Gogh’s life, which was actually his
death, the value of his works shoot up to millions of dollars. Why do we equate money
with the value of art? Why the need to spend money on art when we consume something,
it means we either need it or want it. But have because of our problem with taste. How is
this?
Let us take for example our fondness for fast food and branded but overpriced
items. What we buy also defines what we value. If we do not value our health naturally,
we will just buy whatever we crave. But, if we value our well-being, we buy things that
are good for our physical bodies. Hence, if art reflects our nobility and highest potential,
how do we value it in terms of expenditure?

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 Module GE 6 Name: ____________________________________________
Activity No. 1.4.1a Program/Year: ____________Date Submitted: ___________

Who is an artist?
𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ In these series of activities, we will try immerse ourselves in the lives of
artists.
▪ Be an active participant and observer in each activity.

1. On artist rivalry

▪ Read this dialogue between Michelangelo and Leonardo Da Vinci.

Leonardo Da Vinci Michelangelo di Lodovico Buonarroti Simoni

Da Vinci: To study and draw a perfect human form, I must dissect cadavers and study them
scientifically! The flesh and bones are fundamental in the pursuit of perfection!

Michelangelo: You know this block of marble here, there is a form waiting to be discovered
inside it. I must subtract this block and let that figure out! But before that, I shall drink first
for inspiration!
 Module GE 6 Name: ____________________________________________
Activity No. 1.4.1b Program/Year: ____________Date Submitted: ___________

On artist rivalry (Analysis)

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ This may be just a hypothetical conversation between Leonardo and
Michelangelo in terms of their art-making but the contrast tells us a lot about
their individual approach toward the artistic process.

a. If you can meet Leonardo da Vinci today, what kind of person do you think you
would encounter? Based on the comic strip above, write your assumptions
below:
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________

b. How about Michelangelo? What type of personality does he have? Briefly

describe him from what you have read in the strip:
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________

c. How do you think can artists use rivalry constructively? How about envy? How
can it be used positively?
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________

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 Module GE 6 Name: ____________________________________________
Activity No. 1.4.1c Program/Year: ____________Date Submitted: ___________

2. On emulation (Analysis)
𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ Think of three to five people you really admire and want to emulate. They may
be linked to the areas of your talents or skills and even interests. List them
below:

__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________

ANALYSIS:
▪ What do you think about these people, what makes them great? What do you
fell when his or her name comes into your mind? Write your reflections below:

__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________

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 Module GE 6 Name: ____________________________________________
𝑐𝑢𝑡 ℎ𝑒𝑟𝑒 Activity No. 1.4.1d Program/Year: ____________Date Submitted: ___________

3. On inclusivity (Analysis)

Activity Details:
▪ Read this short biographical excerpt about Chuck Close, an artist.

In 1998, a spinal blood clot left Close almost completely paralyzed and confined to a
wheelchair. This posed a great challenge to the artist’s career. However, with much
determination, a device was developed to strap a brush to his wrist and forearm which
allowed him to continue working. Since this method limited his mobility, he replaced the
minute detail of his earlier paintings with a grid of tiles daubed with colorful elliptical and
ovoid shapes. Viewed up close, each tile was simply a collation of circular colors, but when
see from a distance, the tiles come together to form an image of a seemingly “pixelated”
human face. In 1998, the Museum of Modern Art in New York City mounted a major
retrospective of Close’s portraits. Close has been called a Photorealist, a Minimalist, and an
Abstract Expressionist. But most of all, he was an artist ready to face the challenges of his
physical limitations.

ANALYSIS:

▪ What did the article tell you about the artist? What happened to him? How did he
adapt to his disability? What can you reflect on the reality of physical limitations
(or even mental, e.g. dyslexia, depression, schizophrenia) and the challenge that
this poses to artists?

__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________

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 Module GE 6 Name: ____________________________________________
Activity No. 1.4.2 Program/Year: ____________Date Submitted: ___________

Writing Biography
𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ Write a short biography of an artist whom you know but it is not yet established
in the art scene. How would you promote him or her? From the biography,
imagine yourself creating exhibit notes printed on nice glossy paper together with
some of his or her work. How would you present him or her in a way that is
convincing to your target audience or market?
Use the space below for your publication material complete with text and
photos.

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1.5 Is Art for Everybody: Art and the Society

Is art really for everybody? Does art really have a direct impact on society?
These are only few of the crucial questions being raised by people of different
walks of life. In this lesson, we could arrive into a realization of the importance
of art critics when it comes to educating ourselves with taste.

Time and experience have taught us that we must first understand who we are
and, in this case, our citizenship. With that we must gain a sense of responsibility. A good
artist must be a good citizen first and everything else you do must hinge on what you
believe is good, true, and beautiful for your country and society.

Art is a powerful tool, as we have seen in the seven functions presented at the
beginning of this chapter. Society as recipient of the arts and what they are trying to
engage us in are also part of what circulates around in our art scene. What we consume
also dictates what is circulated. Hence, we are an important player in the kind of artistic
culture that we have. What we consume has an impact on what we value as a society.

For whom should art be made?

For a more holistic study of art, it is important to question and to ponder on the
forces that influence the creation, circulation, and consumption of art. If you encounter a
person with full body tattoo in Kalinga province of the North, how would you react?
When we are trying to critique an artwork, a lot of things should be taken into
consideration; and in this regard, the reason why it was made. Finding an answer to this
can give more value and meaning to a work of art. We will not just easily dismiss it as
boring or grotesque.
In understanding the forces behind the creation and production of art, we may
consider these factors: personal belief or values (be it as an institution, a community or
an individual), practical needs (it could be survival or developmental), and the audience’s
level of consumption. These forces can be academic institutions, galleries, museums,
ruling classes or people, media, church, and even a small group of indigenous people with
sets of beliefs and traditions.
Educating for Taste
What is taste? We Filipinos often associate this with dating. When we see a friend
of ours with a girlfriend or boyfriend who has good looks and even good background, we
can easily mutter, “You have good taste.” But this is not the kind of taste we are interested
in. Yes, it can be applied to that, but taste is more concerned with our choices of
consumption: what we spend our time, money and efforts on.
In our tastes, what do we value? The things we value, do they make the quality of
lives better- mentally, emotionally, physically, economically and even spiritually? Later
on, when you graduate from college and start earning money, you will instantly become
a market for so many things. Wise expenditure, or spending our money wisely is quite
rare these days. Reflect on these words by author Alain de Boton: “When money is allied
with taste- that is sensitivity to what is good and beautiful as well as true to our rather
inarticulate need- very good results can follow in areas from food to housing to media.”

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 But how should we know which to value, and in this sense, how to value art works
and products of our culture? Here, we can start to understand the role of Art Critics.
These people who use writing as a means of communication are trained in seeing and
looking at works of art and judging their value based on a good set of premises.
Sometimes they are also called art connoisseurs. Art critics help us understand and
supplement our knowledge of art forms. With their indispensable role, we can better
evaluate our tastes and even be wiser in what we consume, not only in art but life in
general.

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 Module GE 6 Name: ____________________________________________
Activity No. 1.5.1a Program/Year: ____________Date Submitted: ___________

Add and Connect Me!

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ Complete each picture by adding and connecting to the lines or shapes.
▪ Label each box according to what you have drawn.

Analysis:
▪ Based on the activity you have just done, answer the following
questions:

1. What were the limitations of the activity?

__________________________________________________
__________________________________________________
__________________________________________________
__________________________________________________
2. Why do you think you drew what you drew? Did it reveal
anything about your influences as a person?
__________________________________________________
__________________________________________________
__________________________________________________
__________________________________________________

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 Module GE 6 Name: ____________________________________________
Activity No. 1.5.1b Program/Year: ____________Date Submitted: ___________

Add and Connect Me! (continued)

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

3. In your opinion, what do you think are the limitations of our

society’s setting today (political, economic, and social) and
how does it impact an artist’s career?

__________________________________________________
__________________________________________________
__________________________________________________
__________________________________________________
__________________________________________________
__________________________________________________

4. In the activity, you were given preliminary sketches that

functioned as a force for you to add something to it. In the
same way, what do you think are the forces behind the
production of art? Give three bases as to why artists create:

__________________________________________________
__________________________________________________
__________________________________________________
__________________________________________________
__________________________________________________
__________________________________________________
__________________________________________________

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 Module GE 6 Name: ____________________________________________
Activity No. 1.5.2a Program/Year: ____________Date Submitted: ___________

Exercise on Taste
𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ To aid us further in understanding how we, as recipients of art forms,
influence its production, fill out this simple exercise on taste.

What kind of gadget would you How much are you

need inside your bag?
willing to spend for
__________________________ the gadget?
simple __________________________
_________ __________________
_

What is your most important How much are you

accessory? willing to spend for
__________________________
you to acquire such
__________________________ accessory?
_________
_________________
Test your __
Taste
How would a multi-functioning
pen serve you? Name 3 primary
functions: What kind/brand of
pen you prefer to
____________________________ use?
____________________________
____________________________ _________________
sophisticated ____________________________ __
____________________________
____

If you have to travel 12 hours Who are the

straight in a bus or a plane, authors that you
what kind of book would you should look for?
read?
________________
__________________________
________________
__________________________ ____
__________________________
_________

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 Module GE 6 Name: ____________________________________________
Activity No. 1.5.2b Program/Year: ____________Date Submitted: ___________

Exercise on Taste (Analysis)

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

▪ After doing the activity, let us now assess your answers:

1. What do you think are the bases of your responses? How did you find the activity:
easy, unsure, or just a bit of challenging?

___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
2. If it was hard to decide what answers to write, why do you think so? What makes
it difficult to gauge what you like?
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
3. If you did the activity in less than 2 or 3 minutes, what were your main influences
in your answers? Explain how such influences helped you in constructing your
taste as a person:
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
4. How do you think avg “good taste” can influence the way we live our lives? Does
it always entail expensive things?
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________

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pw
I’m a Filipino But I Don’t Know Manansala!
Chapter 2
Rediscovering Philippine Art

Intended Learning Outcomes:At the end of this chapter, the students are expected to:

1.Analyze and critique qualities of Philippine art through some Filipino artists presented;
2. Recognize notable technical characteristics and innovations of Filipino artists
3. Apply the Filipino subject matter or technique through a simple creative output.
4. Answer and clear inquiries regarding the chronological development of Philippine art
5. Appreciate certain local artistic achievements/artifacts that have shaped Philippine art
history;
6. Recognize its contemporary re-echoing through other art forms like fashion, painting
and photography.
7. Familiarize yourself with the materials that we have in the country;
8. Name some local cultural artifacts that have shaped
9. Utilize some of the materials into special projects;
10. Develop concern for our cultural items an even the raw materials they used, and
participate in activities that will help conserve, preserve, and protect our resources.
11. Increase a basic knowledge of the musical style, developments, qualities, and trends
of Filipino music;
12. analyze the music selections given using specific guide questions;
13. Create a different artwork in relation to the music selections listened to, either
individually or as a group.
14. Apply etiquettes when visiting a museum/ a gallery/souvenir shop
15. Develop a sensibility to the importance of artworks and artifacts and learn the reasons
why they are being preserved.
16. Determine the functions of some art institutions
17. collaborate and respond to the arts by visiting museums and galleries and write
reviews or blogs about works of art.
18. Critique the works of contemporary artists
19. Develop a broader understanding of the implication of technological advancements
to our art scene and its application and connection of art to different areas of
knowledge

Philippine art in general is poignant, romantic and even nostalgic. Before we were
influenced by Westerners, we were already developing our own sets of culture and
values. During the colonial period, gradually we became infused by foreign influence. In a
way, it is quite saddening how the good heritage of old Filipino manners, ethics, and even
cultural markers like our own “baybayin” were superimposed by newer trends.

Most of us, especially in our generation, cultivated the idea that old fashioned is
old school. Even the beautiful way of courtship is gone in the mist of the past.; no more
haranas and fewer dalagang Filipinas. Philippine art, on the other hand, has been
conscious of these changes and has become a way to reminisce and remember our old
virtues and rich roots.

That is why it is very important to study Philippine art because it is part of our
identity and that simply because we have a beautiful culture worth celebrating.

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2.1How Philippine is Philippine Art? A Survey on the Markers of Our
Artistic Culture

In this lesson, we will be analyzing and critiquing qualities of Philippine art

through some Filipino artists presented. Hence, we could reflect the
importance of studying Philippine art because it is part of our identity and that
simply because we have a beautiful culture worth celebrating.

We do have an identity. Filipinos are actually art lovers. We love grandiose and
colorful things: these are so evident in our jeepneys, the colorful decorations of Pahiyas
festival, our native pigments and colors and even our clothes. Sometimes we do not even
have a sense of color harmony because of our love for colorful things. Nothing is wrong
with that. Our diversity is indeed reflected in our art forms and it makes us united and
unique.

Here are some notable artists who have captured our Filipino sensibilities in their
own way:

1. Fernando Amorsolo interpreted as the “Philippine Light”

a. We can compare his style with the impressionist painters who also aimed to
express the simple beauties of nature and life. Such artists are Auguste Renoir,
Edouard Manet, and 19th century portrait artist Auguste Dominique Ingres.
Because of Amorsolo’s expertise on his medium, which is oil, and his sensitivity
to light, Amorsolo was able to paint luminous skin as light strikes it and creates
a certain glow.

b. He was coined as the master of Philippine Light. This is the kind of light that
when it strikes tanned flesh or the leaves of trees for example, one can
immediately see a range of analogous, or related colors such as yellow green,
and white that appear at the same time and makes one feel the warmth of the
scene created. Because of his excellent style, his paintings never fail to bring
back the warmth and idyllic scenes of Philippine provinces and traditions.

Quick Facts: Analogous is a type of color harmony which technically means

those colors that are next to each other in the color wheel.

2. Vicente Manansala developed his rendition of transparent cubism technique

a. Cubism was pioneered jointly by Pablo Picasso and George Braque

, and was described to be the most radical innovation of art “isms” since it contrasted
greatly with the classical perception of beauty. It uses overlapping and multi-
perspective geometric shapes and forms of the chosen subject to produce depth.

b. The cubist aspect of Manansala has broader facets and planes than original cubism
so they bring out larger rhythms and is closer to Synthetic Cubism rather than its
earlier phase, which is Analytic Cubism. He further developed it into transparent
cubism, which shows panels of shapes interfacing each other.
c. Unlike Amorsolo, Manansala echoes the proletarian painters of the United States. His
works were non-idyllic: emotions and backgrounds showing evidence of real events
happening at his time like poverty and economic depression, and skin tones are not
luminous but rather kayumanggi.

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 3. Hernando R Ocampo’s style was considered by some critics as the most Filipino

a. Most of HR Ocampo’s works are purely abstraction, therefore it is hard to

pinpoint why he was Describe as the “most Filipino” painter ever. However, it is
not the content but rather the style of his works where one can see his unique
painterly approach.
b. What unique in his works are the abstract compositions of biological forms that
are portrayed in bold strokes of colors that seem to oscillate before your eyes. His
subject matters are usually nature’s flora and fauna, hence reflective of the
natural beauty of his country.

4. Napoleon Abueva’s modernist but Filipino-themed sculptures

a. Characterized by the planar and geometric look of his sculptures, Abueva veered
away from the conservatism of his mentor, Guillermo Tolentino (known for
sculpting the University of the Philippines’ “Oblation”).

b. He still kept Filipino themes in his sculptures such as rice planters, mother and
child, carabaos, and the like. However, his bold and edgy interpretation of such
themes intensified the kind of spirit present in his dynamic and often monumental
sculptures.

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 Module GE 6 Name: ____________________________________________
Activity No. 2.1.1 Program/Year: ____________Date Submitted: ___________

My Idea of Filipino Art

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ Create a simple drawing, take an original photo, or paint a simple
abstracted design which best represents your idea of Filipino art.
▪ Use your local roots; where you came from what you commonly see
around you.

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2.2 What’s Happening?: A Bite of Visual Arts History of the Country

In this lesson, we shall take a walk through some of the markers of our visual
art history.

Do you remember your elementary days when you were asked to wear a costume
that represents the Philippines? Have you worn that kamisa de tsino or salakot if you are
a male? Have you paired your malong with pearl jewelry and anklets if you are a female?
Perhaps at some point you have done that or may have encountered some cultural events
with these familiar items.

Certainly, these are signifiers of our rich historical artistic background. From such
examples, we can safely say that function preceded aesthetics during our precolonial
times.

1. Pre-colonial Indigenous Art

a. Characterized by use of materials found in the immediate environment,
combining functionality with aesthetics and art forms are usually connected
to traditional belief systems and local values.
b. Clay pottery is one of the earliest forms of ancient art which is evidence of
artistic skill. The Manunggul jar of Palawan is a prominent example. Other
forms are the Calatagan jar which displays inscriptions on its body and the
Maitum burial jar. The maitum is anthropomorphic, meaning it mimics a
human figure with facial expressions of sadness and joy on its face.
c. Other variations are the palayok which is use for cooking, the banga, tapayan
(liquid container), and the burnay pottery of Ilocos.
d. Wood carving is another prominent art form. Our animistic ancestors, mostly
from the Cordilleras, carved the bul-ul and many vaiations of it. The bul-ul is
bi-functional, both a granary god and an ancestral spirit. The okir on the other
hand is the curvilinear esign and motif on woo used by the Maranao and
Tausug peoples. Principles are the sarimanok (a colorful kingfisher with
mythical reference), the naga (ancient serpents), and the pako rabing
(stylized fern). This is found mostly in the extended floor beams of the
Maranao torogan, which is the sultan’s house. A variation of this
ornamentation can be found in the malong (cylindrical Maranao skirt) and
even in stone grave-markers.
Weaving was also predominant as we are very rich in materials like the buri,
rattan, pandan, and bamboo splits used in making hats and baskets like the
pasiking backpack. Local textiles were also weaved finely from materials like
piña and abaca fibers. Textile designs were present in the t’nalak cloth of
Mindanao, which is a decorative tie-dyeing method with motifs like g’mayaw
bird with flapping wings, the dancing man as a symbol to call for rain, and the
frog for fertility.

2. Hispanic Influence (1800’s)

a. The main force of art is the church; hence, works were mostly concerned with
religious subject matters.
b. Notable artworks are Philippine flora and fauna, and the Letras Y Figuras.

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 Flipinos were trained by friars and but they adhered to a richer palette like red,
blue and yellow.
3. American Influence (1900’s)
a. Closing of the Escuela e Pintura, Grabado Y Escultura which paved way for the
opening of sall workshops led by artists to train pupils.
b. Photoethnography was one by American soldiers to “prove” the uncivilized an
primitive people of the Philippine.
c. Force of art were commissions, sales, gifts, an opening of new American-based
businesses.
d. Filipios started getting involved in international art expositios like felix
Ressurreccion Hidalgo.

4. Second Republic: 1942-1945

a. Japan occupies the country and laid the groundwork for cultural regeneration,
dissipating American influence.
b. Some artists involved in the movement were conservatives Fernando
Amorsolo, his brother Pablo, Guillermo Tolentino, Dominador an Castañeda,
and meernists Victorio Edades Galo Ocampo, and Hernando Ocampo.
c. Art became a vehicle of influence for the Japanese to control the filipinos spirit
by restricting their atistics expression.

5. Third Republic: 1946-1972

a. Rise of modernism spearheaded mostly by H. R. Ocampo, Victorio Edades, and
Napoleon Abueva.
b. Art Association of the Philippines was formed along with the Philippine Art
Gallery (PAG)
c. Main art movements were realism an neo realism with media-related
conventions like komiks and editorial cartoons.

6. Fourth Republic 1972-1986

a. Marcos era: Marcos monument was created but was later destroyed.
b. First Lady Imelda Marcos’ efforts: Cultural Center of the Philippnes (CCP),
National Arts Center, and Philippine High School for the Arts among others.
The CCP was envisioned as a shrine for high art and the avante garde.
c. Prominent artists were Chabet, Fernando Zobel, Raymundo Albano along
with modern artists Manansala who painted “Madonna of the slums”;
Benedicto Cabrera (Bencab) produced protests and revolutionary art
through his paintings and prints.
d. Antipas Delatvo painted with watercolor a very stinking work entitled “itak
sa puso n Mang Juan”

7. Fifth Republic Onwards 1986-Present

a. Contemporary Philippine art.

b. Rise of commercial galleries, improvement of institutions, and formation of
more art groups and collectives.

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 Module GE 6 Name: ____________________________________________
Activity No. 2.2.1 Program/Year: ____________Date Submitted: ___________

Name it and Complete Me!

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ Let us see how many local artifacts you can name by completing this short
and hypothetical story.
▪ Given the choices below, what do you think are the proper objects to use
using only context clues? Some of the objects may be repeated.

Story:
One day, Maria went to the river bank to fetch water. Josefina, her mother asked
her to use the ___________________ so she can have some water as soup for her
cooking. When she came back home to their humble nipa hut, she found her mother
preparing and putting the _________________ over the burning hot charcoal. She
gave the water to her mother so she can pour it on the ______________________
together with the vegetables and meat. Maria was sweaty from the trip to the river
so she decided to change her _________________________ and wrap it around her
waist. “Oh, this _________________________ is just right for me, the length is not
too long. “She thanked her sister who brought it for her.

Soon enough, Ernesto her father came home with his catches from the hunt. He
was wearing the ____________________ to protect him from evil spirits in the forest.
It is almost nighttime when the youngest in the family, Danilo came home with his
____________________ backpack so full of new items of trade. Finally, dinner was
ready and everyone ate the hot sinigang soup that mother prepared.

Tapis Pasiking
Banga

Anting-anting Palayok

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 Module GE 6 Name: ____________________________________________
Activity No. 2.2.2a Program/Year: ____________Date Submitted: ___________

Clay Pottery
𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:

▪ Get any type of clay: modelling clay from bookstores or local earth day.
▪ Explore some techniques using these methods.
▪ You may also watch demonstration videos from youtube.com or any other
platforms for guidance.

o A. Pinch pots:

1. Form a ball by pressing and molding the clay with your hands.
2. Press your thumb in the middle to make a hole. The base of a hole
should be over a quarter of an inch.
3. Press on the inner walls while rotating the formed ball. This motion
should be repeated and slowly you will create a simple wide-
mouthed pot.

o B. Coiling:

1. Pinch some clay and roll it into snake-like coils about half an inch
thick.
2. To form a base, flatten a ball of clay to your desired size.
3. Carefully wrap the coil above the base.
4. Roll enough coiled clay because you need to use to form at least a
4-inch high pot.
5. Lay the coils on top of each other forming a cylinder.
6. Using your index finger, scratch down the sides to join the coils
together.

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 Module GE 6 Name: ____________________________________________
Activity No. 2.2.2b Program/Year: ____________Date Submitted: ___________

Clay Pottery (Analysis)

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

▪ Based on the activity or activities you have performed, evaluate your

experience by answering the following questions:

1. What kind of practical functions do you think our first few art
forms served?

______________________________________________________
______________________________________________________
______________________________________________________
______________________________________________________
______________________________________________________
______________________________________________________
______________________________________________________

2. What do you think were the materials that people in the past
sourced from their environment to be able to create such
functional art forms?

______________________________________________________
______________________________________________________
______________________________________________________
______________________________________________________
______________________________________________________
______________________________________________________
______________________________________________________

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 Module GE 6 Name: ____________________________________________
Activity No. 2.2.3 Program/Year: ____________Date Submitted: ___________

Creating a Mood Board

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ Apply a traditional styles, techniques, and motifs and create a Mood
Board for a new design that you want for your, i.e., laptop skin, textile
design, journal or notebook cover, or any surface design.
▪ A mood board is a collection and arrangement of key images and texts
to visualize and lay out a concept for a project.
▪ Imagine that you are contracting an artist to create your desired ideas.
▪ Use the space or board to put your pegs and inspirations.
▪ Write down some clarifications that you want to communicate to the
artist.
▪ You may add more boards if needed.
▪ Paste your ideas on the boxes provided then write short descriptions
about their part in your designs.
Example:

Option 1: This color design Option 2: This single color

is simple and subtle.
Pattern is similar to the
motifs of northern ethnic
groups. Apply this to the
hand tattoo design.

Put a design here… Put a design here… Put a design here…

______________________ ______________________ ______________________

______________________ ______________________ ______________________
______________________ ______________________ ______________________
______________________ ______________________ ______________________
_ _ _
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2.3 What is the Shape of the Philippine Art?: Forms of Our Art

In this lesson, we will look at the other forms of art that we have been working
with and were further developed to showcase world-class Filipino Talent.

Have you ever observed that Filipinos are very good at limitation? In the positive
sense, when we see or hear something exceptional, we can later learn how to do that on
our own.

Example: Our talent in singing; we are often featured in the international scene. However,
we are not just good in singing, our adaptation abilities are very strong, we have imbibed
many foreign influences and made them our own.

In the field of Visual Arts, it is not much different. We can look back to one of the
greatest Filipino artists of all time who were in the ranks with world-renowned painters
and sculptors. Among them are Juan Luna and Felix Resureccion Hidalgo, both of whom
represented the Philippines in the international exposition, Exposicion Nacional de Bellas
Artes (National Demonstration of Beautiful Arts) in Madrid in 1900’s.

Forms of local art: The Philippines is very rich in terms of materials and resources.
These materials are sometimes readily available and can be used in its raw forms, but
others need to be processed. When these materials are put into use, many techniques
and art approaches are given birth.

The following are some of the major forms of Philippine art:

Graphic Arts- Usually identified with Assemblage- Characterized by the collection

advertising art because of their flat and graphic and assembly of found objects usually on a flat
style for easy reproduction. surface. Imagine a collage but with volumentric
objects.
Bamboo Art Food Art
Basketry Furniture
Book Design Installation and Site-specific Art
Dress Komiks and Editorial Cartoon
Embroidery Leaf Art
Effigies-Protest art in sculptural form made Printmaking-Reproduction of several originals
with papier mache which is mostly burned later using a series of printmaking techniques. These
to symbolize opposition. are all made by hand, one by one.

Mat Weaving Photography

Metalcraft Pottery
Multimedia Sculpture
Painting and Related Forms Sound Art
Paper Art Tattoo Art
Performance Art Video Art
Personal Ornaments

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Philippine Materials:

Clay: earthware, red clay called terra-cota, stoneware, and porcelain

Wood: wood carving used in bul-us, sundul (grave markers),panolong (house beams),
santos (graven images)
Tools: paet (carving tool), hiwa (skew), landay (shallow gauge), lukob (deep gauge),
trespico or tatlong kanto (parting tool), Encarnacion or encarnado santos-rendering of
flesh tones
Furniture: floral and cuving vine designs in Pampanga
Sculpture of toothpick trees, fantasy birds, and fans in Paete Laguna
Taka or papier Mache in Paete and creating higantes in Angono Rizal
Papel de hapon for the pabalat wrapper tradition of paper cutting in Bulacan
Philippine hardwood: warmth of tone and natural coloration that ranges from dark
brown to yellow, to reddish hues, as well as fine grain texture
Retablos by Napoleon Abueva for chapels
Weathered wood: artists like Jerusalino Araos and Rey Paz Contreras used od railroad
tracks or stairs and beams of demolished houses
Bamboo and rattan: Kenneth Cobonpue
Mindanao wood: tail ends of houses
Basketry: buri, rattan, pandan, bamboo splits, ibus, nipa palm, saha (banana pulp), hat
making
Food: kiping (rice wafer for the pahiyas decoration); dayap food wood carving in
Bulacan
Metal: bronze or brass using ciere perdue or “lost wax method”. Using wax for mold.
Spaghetti strips of wax is placed on outer layer of brass to create the designs. Pukpuk
method.
Stones and precious stones
Fiber, dyes and pigments

English Name Filipino English Name Filipino

Counterpart Counterpart
Red Labaga (Ilokano), Pink Kalimabahin or
kanaway Rosas
(Maranao),
Mabaya(Batanes)
Orange Kahelor Dalandan Brown Kayumanggi
Yellow Dilaw, Kunig (Iloko), Gray Malamaya
Amarilyo
Green Lungti White Puraw (Iloko)
Blue Bughaw Ivory Garing
Purple Purpura or Morado Emerald Esmeralda
Violet Lila Black Dagtum (Cebuano)
or Itim

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 Module GE 6 Name: ____________________________________________
Activity No. 2.3.1a Program/Year: ____________Date Submitted: ___________

Do your Choice!
𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ To introduce us to some of our old traditions in creating art forms, here are
some activities you may choose from:

1. Tie dyeing
Materials: Any white shirt or cloth, rubber band, basin, 2-3 plastic cups
(depending on the number of colors you will use), dyes of different colors, hot
water, and syringe/medicine dropper.

Instructions:
a. Pinch and twist the center of your fabric. Using rubber band, tie the twisted
section just behind your hand.
b. Continue twisting the cloth while tying it at certain intervals until you reach
the end. You should have formed a long twist of cloth.
c. Prepare your dye by putting hot water in a pail or basin an then mixing the
dye in it. Test the color on paper by applying the dye using syringe or
medicine dropper. Make sure that you remove the needle from the
syringe.
d. For a more effective color pattern, dip your cloth in light colors first like
yellow and orange. You may dip it half way or 1/3 and then squirt the rest
of the colors onto the other parts of the cloth. Experiment with patterns
by dropping colors in different parts of the cloth. Allow the colors to absorb
for 3-5 minutes.
e. Remove all rubber bands and hang your finished product to dry. Now you
have a tie-dyed shirt/cloth!

2. Weaving
Materials: Scissors, glue, and construction paper
Instructions:
a. You may want to group 2 colors of papers together before cutting.
b. Cut the first colored paper into strips around half an inch wide. Cut along
the longer side of the paper. You may fold the paper into two and then cut
from the center.
c. Using the next set of colored paper cut into strips, weave them one by one
through the papers laid out on the floor. Use the alternate motion of “over-
and-under”.
d. Glue into place the first strip and repeat the process until you finish the
entire area. Your finished product can be used as a mat or background
decoration.

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 Module GE 6 Name: ____________________________________________
Activity No. 2.3.1b Program/Year: ____________Date Submitted: ___________

Do your Choice! (continued)

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

3. Komiks
a. Start by creating a story board with simple drawings. Think of a simple
story snippet. It can be a funny personal encounter, a reaction to current
events, or something informative.
b. Create short and simple dialogues. Effective comics should have a
punchline or something that the reader can take away after reading it. Use
the boxes below for your illustration. Draw more boxes if needed.

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 Module GE 6 Name: ____________________________________________
Activity No. 2.3.2 Program/Year: ____________Date Submitted: ___________

Fashion Photography
𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ Incorporate local accessories, colors, and materials into your fashion
statement. Do fashion photography and paste your outputs here.
▪ If not possible, draw some ideas for fashion or jewelry design.

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2.4 The Philippines: 7, 100 Islands, One Common Voice

In this section, we will take a brief look at some notable music traditions and
idioms found in our country.

The Philippines, being a vast archipelago consisting of more than 7, 100 islands, is
a nation with many different musical cultures and styles. Each region has its own
particular array of songs, traditions, chants, nuances, musical attitudes, instruments,
artists, and compositions.

Sadly, we are not very aware of this vast and colorful collection of musical
material, for we rarely even see or hear them being performed in media (TV, radio, or
social media, and live performances).

Musical Idioms of the Philippines

Indigenous Music of Northern Philippines

In the northern part of Luzon island, there are two notable music traditions: (1)
that of the Negritos and (2) that of the peoples that inhabit the Cordillera mountain range.

Music is primarily used as a part of the Nrgritos’ ceremonies and rituals, such as
marriage rituals, healing the sick, burial rites, and memorials for the dead. Singing is
usually accompanied by dancing and by musical instruments, such as the bansi, a type of
flute; the kudyapi (a two-stringed guitar-like instrument); and the kimbal (conical drum).

In the cordillera mountain range of Luzon, flat gongs, called gangsa, are principally
used in indigenous music. These gongs are usually made from brass or bronze. These are
used in occasions such as life-cycle celebrations, peace pacts, and weddings, to name a
few. Gongs are considered to be highly valuable, prestigious instruments and they may
be offered as dowry for marriage, exchanged or sold for animals, farmland, or other
necessary commodities. Gongs may be played in two ways: either to be struck by hand
(topayya) or tobe struck with sticks (palook).

Besides gongs, there are other musical instruments which are usually made out of
wood and bamboo. Some examples of these are bamboo percussion tubes (Kalingga
tongatong), bamboo buzzer (Kalingga balingbing, Ifugao bungkaka, or Ibalao pakkung),
bamboo nose flute (Bontok kaleleng), bamboo tube zither (Isneg kuritao), and the three-
stringed fiddle (Ilonggot kulibao or litlit).

gangsa
Kudyapi bamboo buzzers
(bungkaka/balingbing)
 Bamboo percussion tubes Nose flute (kaleleng)
(tongatong)

The Native Music of Southern Philippines

In the southern part of the Philippines, there are music traditions both from
indigenous peoples and from a Muslim-influenced culture.

Gongs and gong ensembles

Gongs are also widely used in the south, just like in the north, with one main
difference: gongs in the south are bossed (there is a protruding bulge at the center). Due
to this, the sound of gongs from the south are fuller, more projected and focused
compared to the sound of gongs from the north. There are gongs that are suspended
(agung and gandingan) and there are those that are laid flat in a row (kulintang). These
are found particularly in the Sulu archipelago and south-western Mindanao. The kulintang
gongs are usually smaller in size compared to suspended gongs, which are heavier and
are usually used as punctuation in music. The kulintang gongs are capable of producing
identifiable pitches, unlike the gongs in the north which have indefinite pitch.

Other instruments

Besides gongs, other instruments found in the south are the following: the lip-
valley flue (palendag), jew’s harp (kubing), xylophone (gabbang), violin (biola), and
percussion beams (kagul).

Put picture of Kulintang (small Put picture of Gabbang

bossed gongs) (bamboo xylophone)

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 Agung (large suspended gongs) Kagul (bamboo percussion
beams)

Native Vocal Genres

The Kundiman and the Kumintang are two salient vocal idioms of Philippine art
music.

A. The Kundiman
The Kundiman is a type of Filipino art song that is written in triple time, and usually
begins in a minor key. It is referred to as the signature love song of the country. Its theme
generally portrays the “faithful and true, but often forlorn pleadings of a lover who knows
nothing but sacrifice in behalf of his beloved.” (Padilla de Leon 1969). According to
Raymundo Banas (1969), there are three possible theories as to the origin of the word
“Kundiman”.

These are the following:

1. A contraction of the phrase “kung hindi man”.
2. A derivation from the verse “hele, hele ng kundiman”
3. The red cloth worn by men and male dancers in the countryside

Examples of Notable Kundiman:

a. Pakiusap- by Francisco Santiago
b. Madaling-Araw- by Francisco Santiago
c. Anak ng Dalita-by Francisco Santiago

Other prolific writers of Kundiman:

a. Nicanor Abelardo e. Felipe de Leon
b. Santiago Suarez f. Bonifacio Abdon
c. Antonio Molina
d. Lucrecia Kasilag

B. The Kumintang
In the 1800s, historians referred to it as the “national song and dance” of the
Philippines. The Kumintang was originally a “war song that inflamed combatants to
action.” (Manuel Walls y Merino 1892). The province usually associated to its origin is
Batangas, where it developed into a song-dance form. Also written in triple time, it is a
love dance performed to a sad song, usually accompanied by a guitar or a double bass.

Ex. Mutya ng Pasig

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Performing Groups

There are various musical performing groups in the country. These are a few
notable examples:

A. Choral Groups

The Philippines has a very strong choral musical tradition. Here are some
prominent choirs which have established both a national and international reputation:
1. The Philippine Madrigal Singers
2. The University of the Philippines Concert Chorus
3. Loboc Children’s Choir (from Bohol)

B. Bands

Bands, which are composed of woodwinds, brass instruments, and other

percussion instruments such as drums also have a significant following especially in these
provinces: Rizal, Bulacan, Batangas, Bataan, Cavite, Laguna, La Union, and Pampanga.
These range from military marching bands, civilian bands, and town bands.

C. Musikong Bumbong

Is a type of ensemble (usually in band configuration) that has instruments made

of bamboo. These ensembles are very few and quite unique in the sound that they
produce.

D. Orchestras

The Philippines has a few orchestras, and these are the following:
1. PPO- Philippine Orchestra
2. MSO- Manila Symphonic Orchestra
3. MMCO- Metro Manila Community Orchestra
4. UPSO- University of the Philippines Symphony Orchestra
5. ABS CBN Orchestra
6. UST Symphonic Orchestra
7. MPO- Manila Philharmonic Orchestra
8. Orchestra of the Filipino Youth

E. Rondalla

The Rondalla, originating from Spain, is an ensemble (performing group) that was
later customized and transformed to fit Filipino culture. Also called the Filipino” stringed
band”, these groups play a wide range of repertoire, from folk, modern, and even foreign
classical music. These are mostly transcriptions of other vocal and instrumental
compositions. The usual instruments found within a rondalla are the bandurria, laud,
octavina, guitar, and double bass. Rondallas are found throughout the country, especially
in many public schools.

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Avenues for Musical Exposure

The indigenous and art music of the Philippines are a valuable treasure to our
cultural heritage. As such, we should seek opportunities to watch, listen, and appreciate
live performances and other related events that showcase Filipino music, traditions,
culture, and talent.
Sadly, are native music has not been able to permeate the mainstream society,
and this huge collection of music is almost not heard in radio waves and other forms of
mass media in country. Here are some institutions that may help us create an interest,
awareness, and appreciation for our own local musical arts.

A. NAMCYA – (National Music Competitions for Young Artists)

Established in 1973, these are annual competitions that showcase promising

musicians in different performing categories, such as in piano, strings, wind, choral
singing, rondalla, and voice. These competitions start from the provincial/regional level
and conclude with the National Finals, which are usually held at the CCP (Cultural Center
of the Philippines) from late November to early December each year.

B. Concert at the Park

“Concert at the Park” is a regular series of music performances which has been
on-going for quite some times. These concerts are held at the Luneta Open Air
Auditorium, and are also sometimes aired simultaneously via television. Its concerts are
open to the public.

C. Park Presents

Just like “Concert at the Park”, this regular series of outdoor music performances
are held at a different venue. Historic Paco Park, which is actually a cemetery from Spanish
colonial times, has a large circular courtyard where the concerts are held.

D. Bamboo Organ Festival

St. Joseph Parish Church in Las Pinas is home to an annual classical music festival,
usually held during mid or late February. Its grand antique organ, made almost entirely of
bamboo, was constructed in 1824. It is a popular tourist destination, and this unique
organ was declared a national cultural treasure of the Philippines.

E. Music School, Colleges, and Conservatories

These higher places of learning usually have concert halls wherein the general
public may attend to witness live musical performances, symposia, workshops, master
classes, music festivals, and other music-related events. The following are some of the
higher institutes for learning music in the Philippines.

1. PHSA - Philippines High School for the Arts, Makiling, Laguna

2. University of the Philippines Collage of Music – Diliman, Quezon City
3. University of Santos Tomas Conservatory of Music – Manila
4. Philippines Women’s University – Manila
5. St. Scholastica’s Collage – Manila

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 6. St. Paul’s Collage – Manila
7. Colegio de Sta. Isabel – Manila
8. La Consolacion Collage – Manila
9. Centro Escolar University – Manila
10. University of San Agustin- Iloilo
11. Silliman University – Dumaguete, Negros Oriental

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 Module GE 6 Name: ____________________________________________
Activity No. 2.4.1 Program/Year: ____________Date Submitted: ___________

Listen an Reflect!
𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ Listen to a sample of Philippine vocal art music: [Track #34: Mutya ng Pasig by
Nicanor Abelardo]
▪ After listening to the track above, answer the following questions and discuss it
with the class.

1. What do you think is the message of the song?

_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________

2. Is the message still relevant to our society today? If yes, how? If no, why not?
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________

3. What is the mood being portrayed by the song? Who do you think is being
referred to as the “Mutya ng Pasig” based on this song? Please describe.
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
4. Do you think that an awareness of songs like this can help instill a sense of
national pride in our identity? How can these songs be revived or promoted
for today’s listeners?
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________

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 Module GE 6 Name: ____________________________________________
Activity No. 2.4.2 Program/Year: ____________Date Submitted: ___________

Listen and Create!

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ Listen to a sample of Filipino art music: [Track #36: Humoresk: based on
“Telebong” by Augusto Espino.
▪ Create a new artwork depicting the selection listened to.
▪ Choose one from the art mediums below and you may use the space on the next
page.
a. Drawing or painting
b. Comic strip
c. Short narrative (10-15 sentences long)
d. Short poem
e. Short interpretative dance
f. Clay figure/model
g. Photograph
h. Rap (use any native Filipino language or dialect)

▪ Write here…

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2.5 How Do I Behave Myself in a Gallery?

In this lesson, we will learn and apply etiquettes when visiting a museum or a
gallery and gain a good understanding of the functions of some art institutions.

The culture of gallery and museum visits are very common among us. We would rather
go to malls where our hunger for aesthetics could be relieved. However, we miss the
opportunity of having an experience that will feed both our souls and our hunger for our
deepest longings.

Museum and Gallery Etiquettes

1. How you dress? It does not always have to be flashy or

formal.
2. Where should you eat? Some museums have cafes-the only
areas where you are allowed to eat. In
galleries, eating is only appropriate
during openings and cocktails are usually
served. However, these are not
supposed to be full meals; they are just
light snacks, so eat lightly and in the
spaces designated for eating.
3. When taking photos Avoid using flash photography because
the light could affect the vibrancy of a
painting’s color. Some paints are light-
sensitive and they also naturally fade
over time.
4. Selfies and funny poses In museums, a lot of paintings and
artifacts ae deeply venerated for their
depictions of some of the most
important pains and victories of a
country or region. Hence, our behavior
should also be properly coordinated.
5. Talking and jesting It is definitely okay to talk and discuss
some artworks, but if your voice is
louder than normal, then it could
distract and disturb other gallery visitors.
6. Touching Some contemporary art these days are
meant to be touched, but most works
are NOT. Our fingers have sweat glands
which can affect the chemical properties
of a painting or sculpture’s surface.

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Knowing the National Museum of the Philippines

Pandemic will never stop us from exploring and knowing more about our National
Museum. Now, let’s have a tour through prints…Just enjoy this new normal museum
visits!

Welcome to the National Museum of Fine Arts!

NATIONAL MUSEUM OF FINE ARTS in MANILA: Guide for First Timers

Here’s our guide to the NATIONAL MUSEUM OF FINE ARTS in Manila. This includes
information on the opening hours, closing days, and entrance fees, as well as some tips to
make the most out of your stay! Enjoy!

The National Museum of Fine Arts will transport you to various eras. Each floor is rich in
history; each gallery tells the story of an era; each masterpiece represents an integral
piece that tells our story as a nation.

The building itself is remarkable. Built in the early 1920s, this neoclassical structure
houses numerous notable pieces by renowned Filipino artists including Juan Luna,
Guillermo Tolentino, and Felix Resureccion Hidalgo. The most prominent masterpiece is
Juan Luna’s Spoliarium, which was awarded a gold medal by the Exposición Nacional de
Bellas Artes in 1884 in Madrid, Spain.

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 For those who are planning to visit
the National Museum of Fine Arts to
see the Spoliarium and other
important artworks, here are some
tips to make your time inside the
museum smooth and hassle-free!

How to get to the National Museum

of Fine Arts?
The National Museum of Fine Arts is
located at Rizal Park, Padre Burgos
Ave, Ermita, Manila.

Nearest train station: U.N. Avenue Station (LRT 1)

1. From EDSA, ride the MRT to Taft Avenue Station.

2. Transfer to LRT 1. There’s a footbridge connecting MRT Taft Station to LRT 1
EDSA Station.
3. Board the train and alight at U.N. Avenue Station.
4. Walk your way to National Museum of Fine Arts. It is located near the Natural
Museum of Anthropology and Philippine Normal University.

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What are the operating hours? Tuesday to Sunday, 10:00 AM – 5:00 PM. Be there at
least an hour before closing time. Better if you can come in the morning. The museum
is CLOSED on Mondays.

How much is a ticket? ADMISSION IS FREE!

This is awesome. By not charging an entrance fee, the museum allows more people to
appreciate these art pieces and learn more about our history through these
masterpieces.

When is the best time to visit?

Weekday mornings.

Although field trips and other group tours are scheduled during weekdays, the museum
is less crowded from Tuesday to Friday.

To maximize your visit, go in the morning. You might also want to visit the other
establishments within the National Museum Complex — the National Museum of Natural
History, the National Planetarium, and the National Museum of Anthropology. Expect the
museum to welcome more visitors during weekends (Saturday and Sunday) and holidays.

What are the attractions inside the National Museum of Fine Arts?

▪ First Floor: The Judiciary Floor. The Government William H. Taft Entrance, The
Architect Juan M. Arellano Foyer, The Sandiganbayan Reception Hall, Seminar
Rooms, The National Fine Arts Repository, The National Archaeological
Repository, Auditorium (North Annex), Administrative Offices (South Annex)
▪ Second Floor: The House of Representatives Floor. The Padre Jose Burgos
Entrance, The President Manuel Roxas Foyer, The Spoliarium Hall, Exhibition
Galleries I to XII, The President Sergio Osmena Function Hall

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 ▪ Third Floor: The Senate Floor. The President Manuel L. Quezon Foyer, Exhibition
Galleries XIII to XXIV, The Senate Session Hall (Main Level), The Senator Claro M.
Recto Function Hall
▪ Fourth Floor: The Executive Floor. The Senator Benigno S. Aquino Jr. Foyer,
Exhibition of Galleries XXV to XXIX, The Senate Session Hall (Mezzanine Level),
The President Jose P. Laurel Function Hall, Management Offices

What are the top attractions?

▪ First Floor: The Sandigan Reception Hall

▪ Second Floor: Spoliarium, The Assassination of Governor Bustamante, Portrait of
a Lady (Gallery III), Recuerdo de Patay of a Child, The Burning of Manila, Rape
and Massacre in Ermita, Noli Me Tangere (Gallery V)
▪ Third Floor: Planting of the First Cross (Gallery XXIII), Untitled Philippine Scene I,
Pillars of Philippine Modernism 4 (Gallery XVIII), Pillars of Philippine Modernism
5 (Gallery XIX)
▪ Fourth Floor: The Art of Claude Tayag, Torero by National Artist, Quadricula
(Hocus II)

Note: There are tons of interesting artworks and masterpieces and the abovementioned
are just some of the major attractions.

Can we visit without prior reservation?

YES! For individuals and small groups, you can just show up and enter!

However, for group tours like field trips and company excursions, you need to reserve
and book the slots in advance. The schedule for group tours usually falls on a weekday.

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Where to reserve slots for big groups?

For groups of more than 20 pax, you may contact the management for booking and
reservation inquiries here:

▪ Contact Numbers: (02) 527-7889 / 0929 457 3286 (Smart) / 0966 330 5931
(Globe)
▪ Email Address: cmvod.nationalmuseum@gmail.com
▪ Office Hour: 8:30 AM – 5:00 PM (Tuesday to Sunday)
▪ Facebook Page: National Museum of the Philippines

How do we get in?

1. Go to the registration area.
2. Register your name. If you’re a group, just register one name for the whole
group.
3. Deposit your bag at the baggage counter.
4. Get your number. Keep it.
5. Enjoy!
What are the rules and regulations?
1. No food and beverages inside the museum.
2. No touching of museum objects and exhibits.
3. Photography is allowed but turn off your camera’s flash.
4. No videography. You are not allowed to take videos inside the museum.
5. Tripods are not allowed inside.
6. Large bags and carriers are not permitted. Backpacks and bags bigger than a
letter-size bond paper must be deposited at the baggage counter.
7. Wrapped packages are prohibited.
8. You cannot bring umbrellas inside. Deposit it at the baggage counter.
9. Pens and other art materials are prohibited.
10. Refrain from wearing caps and bonnets.
11. No smoking.
Important Reminders
▪ Please read the warning signs. Strictly follow the rules and guidelines at all times.

▪ Fall in line and wait for your turn. Be courteous and respect other people’s time
and space.
▪ Parents and adults should supervise the children while inside the museum.
▪ Keep quiet.
▪ Respect the place. Do not litter or vandalize.
▪ Be there early, especially if you plan to do museum hopping. National Museum
of Natural History, National Museum of Anthropology, and the National
Planetarium are located not far from each other.

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National Museum of Anthropology, Manila

Formerly known as the National Museum of the Filipino People, the National Museum of
Anthropology is a component of
the National Museum of the
Philippines that specializes in
anthropology and archaeology. It
is very near the National Museum
of Fine Arts and is just facing the
National Museum of National
History. It is located in the
Teodoro F. Valencia Circle in
Luneta (Rizal Park), Manila.

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 National Museum of Anthropology, Manila
The museum contains things and artifacts related to archaeology, prehistoric societies,
languages, customs, traditions, and culture of the Philippines. At the ground floor are the
offices of the Museum Foundation of the Philippines, Archaeology Division, Ethnology
Division, Maritime and Underwater Cultural Heritage Division and the National Museum
Library. At the courtyard stands a model replica of an Ifugao house.

National Museum of Anthropology, Manila

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The second floor contains two galleries: the San Diego: 500 Years of Maritime Trade, and
Garing: The Philippines at the Crossroads of Ivory Trade. We were not so fortunate as
these galleries were closed during our visit. The third and fourth floors contain various
exhibits.

National Museum of Anthropology, Manila

Of War and Peace

A lantaka exhibits depicting ancient

Filipino warfare. The lantaka is a small gun
or barrel made of brass.
It was often used by trading and raiding vessels sailing in Southeast Asian
maritime routes and in the fortresses. It is displayed along the 3rd-floor corridors.

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 Manlilikha ng Bayan Hall
One of the recently opened galleries of the
museum, featuring the work and lives of
13 Manlilikha ng Bayan (National Living
Treasures). They were awarded the Gawad
Manlilikha ng Bayan (GAMABA) awards in
recognition of their contribution and
preservation of culture. Among them are
Teofilo Garcia (or Apu Pilo, the last tabungaw maker that we interviewed last November
2017), and Apu Whang-Od, the last mambabatok (tattoo artist), which we also
interviewed last October 2017.This exhibition has been made possible through a
partnership with the NCCA and the Office of the Senator Loren Legarda.

Lumad: Mindanao
Faith, Tradition and
Place: Bangsamoro
Art from the
National
Ethnographic
Collection. The
exhibit according to
the National
Museum features
“the material
culture of 13 of the
major Lumad groups from the National Ethnographic Collection which aims to explore
the significance of Mindanao natural reserves and resources to Lumad identity”.
It also presents “previous and recent historical and anthropological data, particularly on
their experiences, encounters, and established linkages and ties with neighboring groups
and foreigners throughout the years; and in the process attempt to give an insight into
how perceptive the Lumad peoples are of their place and purpose”.

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National Museum of Anthropology, Manila

Sarimanok
(National Museum
of Anthropology,
Manila)

Kaban ng Lahi

An Archaeological Treasures Gallery displaying various burial jar collections unearthed

from different caves across the country. It shows the significance of burial traditions
practiced by our ancestors. The
process of cleansing, embalming, and
burial are shown here.
Kaban ng Lahi Gallery (National
Museum of Anthropology, Manila)

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 The Manunggul Jar, one of the country’s most precious
and famous jar collection, can be found here (not just in
P1,000 bill). The two prominent figures at the top handle
of its cover signify the journey of the soul to the afterlife.
The jar was unearthed in Manunggul Cave, one of the
caves in the Tabon cave complex in Lipuun Point, Quezon,
Palawan which is said to be from 890-710 B.C.

Manunggul Jar

Diorama of Tabon Cave exploration

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Rice, Biodiversity and Climate Change

This gallery contains varieties of rice grains still in panicles are displayed along with
artifacts, flora and fauna specimens and photographs.
The exhibit also highlights, among others, rice farming practices, plants and insects in
the field, farmers` way of life, and the importance of rice conservation.

Varieties of Rice (National Museum of Anthropology, Manila)

Birds of rice fields on display (National Museum of Anthropology, Manila)

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Hibla ng Lahing Filipino
The Artistry of Philippine Textiles. This exhibit highlights the National Textile Collection,
displaying the different textile collections from the National Museum, National
Anthropological Collection, and from the private collection of Senator Loren Legarda.
Also seen here are weaving looms and the intricate process made by our ancestors in
designing and producing textile wear from a single simple fiber.

Hibla ng Lahi Exhibits (National Museum of Anthropology, Manila)

Panorama of mats, Hibla ng Lahi Exhibits (National Museum of Anthropology, Manila)

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 Collection of traditional Filipino garb (National Museum of Anthropology, Manila)

Display showing the natural dye in the Philippines (National Museum of Anthropology,
Manila)

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Baybayin
Featuring the traditional script of ancient Filipinos. Displayed here are archaeological
artifacts such as the Laguna Copperplate Inscription, Calatagan Pot and some books
loaned by the UST, NHCP and National Library. Also displayed are some tools, musical
instruments, ornaments and pots with Baybayin inscriptions from indigenous tribes of
Mindoro and Palawan.

Laguna Copperplate (National Museum of Anthropology, Manila)

Doctrina Christiana in Baybayin (National Museum of Anthropology, Manila)

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 An amulet with baybayin script (National Museum of Anthropology, Manila)

National Museum of Anthropology, Manila

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Entwined Spheres
Entwined Spheres: Mats and Baskets as Containers, Conveyors and Costumes
Located at the fourth floor, it shows different mats and baskets and how they were used
by our ancestors, whether being a simple accessory or costume piece, containers for
both secular and sacred objects, for fishing, farming and in other aspects of life. The
exhibit also explores how different ethnic groups in the country are connected and are
similar to each other through basketry.

Different types of the basket (National Museum of Anthropology, Manila)

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Within two to three hours, you can explore the entire museum, and within this period
you will surely learn a lot.
If you are a Filipino and want to learn the history, heritage, culture and identity, make
sure to mark it as one of your next destinations.

DIRECTIONS
▪ From Cubao take a jeep bound for Luneta. Or take the LRT-2 going to Recto,
then from there take the LRT-1 (there is a footbridge connecting LRT-2
Recto Station and LRT-1 Doroteo Jose station) and alight at the UN Avenue
Station.
▪ Admission is FREE.

National Museum of Anthropology, Manila

OPENING HOURS
▪ 10:00 am – 5:00 pm
▪ Tuesday-Sunday

WHATS NEARBY?
▪ National Museum of Fine Arts
▪ National Museum of Anthropology
▪ Planetarium
▪ Sentinel Statue
▪ Rizal Park

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National Museum of Natural History

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NATIONAL MUSEUM OF NATURAL HISTORY in MANILA: Guide for First-Timers

Here’s our guide to the NATIONAL MUSEUM OF NATURAL HISTORY in Manila. This
includes information on the opening hours, closing days, and entrance fees, as well as
some tips to make the most out of your stay! Enjoy!

Museums play a big role in reminding us of how we grow as a people. Through arts,
installations, and precious artifacts, they awaken our desire to know more about our rich
culture, our history, and our environment, which make up our national identity.

One of the most popular museums in the country is the National Museum of Natural
History, which was officially opened to the public in May 2018. Located in Rizal Park, it is
part of the National Museum Complex which boasts three other attractions: the National
Museum of Fine Arts, the National Museum of Anthropology, and the National
Planetarium.

Completed in the 1940s, it was formerly called Agriculture and Commerce Building.
Before it became the National Museum of Natural History, the building used to be the
headquarters of the Department of Tourism until 2015.

We recently had the opportunity to finally visit! Here are some tips to make your time
inside the museum smooth and hassle-free!

What are the operating hours of the National Museum of Natural History?

Tuesday-Sunday, 10:00 AM – 5:00 PM. It’s closed on Mondays.

How much is a ticket?

It’s FREE for all. Filipinos, foreigners, students, adults, children. All can visit without paying
anything.

When is the best time to visit?

Since the entrance fee is waived, it can get pretty crowded. Expect weekends to be much
more packed than weekdays. Friends and families usually flock to the museums either
Saturday or Sunday when there’s no class and no work. The queue can stretch to the
outside of the building, down the stairs.

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To avoid the crowd, go in the morning especially if you plan to visit the other two
national museums and the National Planetarium.

Can we visit without prior reservation?

Yes! Walk-ins are encouraged. Just don’t go when the museum is nearing its closing time.
Although the museum closes at 5 PM, you need to be there at least an hour before closing
to see everything and fully appreciate them. Going there 30 minutes prior to closing time
is not practical unless you don’t mind getting rushed by the announcement that the
museum will close in a few minutes.

For big groups however, like for educational field trips or company tours/excursions, you
need to reserve and book slots in advance. Normally, the management doesn’t allow field
trips and such on weekends. Their schedules generally fall on weekdays.

Where to reserve slots for big groups?

Here are the contact details of the National Museum management: Reservation and
Booking: 0966-3305931 (Globe) / 0929-4573286 (Smart) / (02) 527-7889 (landline)
For commercial filming/videography, email: cmvod.nationalmuseum@gmail.com
Office Hours: 10 AM – 5 PM (Tuesday – Sunday)

How do we get in?

1. Go to the registration area. If there’s a queue, wait for your turn.
2. Register your name. If you are a group, just register one name. Count the total
number of male and female in your group and write it down the log sheet.
3. Deposit your bag, along with all the prohibited items that you might have brought
with you, at the baggage counter.
4. Get your baggage claim number. Do not lose it.
5. Enjoy!

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What are the attractions inside the National Museum of Natural History?

Tree of Life

The National Museum of Natural History has 6 floors with the “Tree of Life” as the
atrium’s centerpiece. As of October 2018, here are the sections per floor:

▪ First Floor: Tree of Life foyer (Introduction to the Museum), Lower Entrance Hall,
Lower Courtyard, Education and Function Halls, Visitor Services
▪ Second Floor: Gallery XI (Our Natural Inheritance), Gallery XII (Temporary
Exhibitions), Upper Entrance Hall, Upper Courtyard, Reception Hall
▪ Third Floor: Gallery IX (Mangroves, Beaches and Intertidal Zones), Gallery X (The
Marine Realm)
▪ Fourth Floor: Gallery V (Mossy, Montane and Pine Forests), Gallery VI (Lowland
Evergreen Rainforests), Gallery VII (Ultramafic and Limestone Karst Forests –
UNDER CONSTRUCTION), Gallery VIII (Freshwater Wetlands)
▪ Fifth Floor (UNDER CONSTRUCTION): Gallery I (Philippine Biodiversity), Gallery II
(The Geology of the Philippines), Gallery III (Minerals and Energy Resources),
Gallery IV (Life Through Time)
▪ Sixth Floor: Roof Garden, Function Halls, National Museum Conference Center

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What are the top attractions?

Lolong’s Skeleton

▪ Tree of Life. A commanding architectural structure composed of two parts — the

dome and the DNA-like structure. The dome serves as the atrium’s ceiling, while
the DNA-like structure links the dome to the atrium’s ground, resembling a tree
trunk. The elevator itself is an attraction, offering a great view of the museum’s
foyer/atrium.
▪ Second Floor: Lolong. The skeleton of the Philippine’s largest crocodile (in
captivity) ever recorded hangs from the ceiling of the reception hall on the second
floor.
▪ Gallery VI: Rainforest Diorama. Walk through the mini replica of a rainforest and
learn about the different kinds of species inhabiting the land. This is located on
the fourth floor.
▪ Gallery IX: Mangrove Diorama. Like the rainforest diorama, you can also walk
through a few meter square of mangrove diorama located on the third floor. See
also the different creatures that thrive in them.
▪ Gallery X: The Marine Realm. Also found on the third floor, the marine realm
gallery gives you an idea on how “The Abyss” looks like, allows you to experience
a snippet of boarding a submarine, and enables you to marvel at the life-size
replicas of a whale shark and manta ray.

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How do I make the most of my visit?

Life-size whale shark and dolphins

To best experience and understand the displays and exhibits, here’s a trivia:

The displays are arranged per ecosystem: the upper floors showcase mountains and
forests and the lower floors display wetlands and the underwater realm. Start from top
to bottom.

What are the rules and regulations?

1. Backpacks and bags bigger than a short bond paper (8.5in x 11in) must be
deposited at the baggage counter.
2. You cannot bring with you umbrellas, pens, and other markers. You should
deposit them at the baggage counter.
3. Food and beverages are not allowed inside the museum.
4. Refrain from wearing caps, hats or bonnets.
5. Wrapped packages are prohibited.
6. DO NOT TOUCH NOR LEAN ON the museum objects, displays, and exhibits.
7. You can take photos, but you must refrain from using the camera flash.
8. Taking videos is strictly prohibited.
9. Tripods and monopods are not allowed.
10. Disrespectful and wacky poses are not permitted.
11. Do not sit on the floors.
12. No smoking.

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How to get to the National Museum of Natural History in Manila?

The National Museum of Natural History is located along Agrifina Circle, Rizal Park, T.M.
Kalaw Street, corner General Luna Street, Manila.

Nearest train station: U.N. Avenue Station (LRT 1)

1. From EDSA, ride the MRT to Taft Avenue Station.

2. Transfer to LRT 1. There’s a footbridge connecting MRT Taft Station to LRT 1
EDSA Station.
3. Board the train and alight at U.N. Avenue Station.
4. The museum is just a few minutes’ walk from the station.

What are other nearby attractions?

▪ National Museum of Anthropology

(located just across the National Museum
of Natural History)
▪ National Museum of Fine Arts
▪ National Planetarium
▪ Luneta Park/Rizal Park

Other Tips
▪ Wear comfortable clothing and footwear.
▪ Be there early. If you plan to do museum hopping. Make National Museum of
Natural History as your first stop. The people are still curious because it’s new, and
it has features like interactive spots and learning experience corners that make it
more interesting for kids. In short, it tends to be packed with visitors than the
other two museums within the complex.
▪ Senior citizens, PWDs, pregnant women, and children 8 years old and below (with
their parents or guardians) may use the Lower Entrance facing T.M. Kalaw Avenue
if the Upper Entrance queue is too long.
▪ Aside from the atrium elevator, there’s another elevator near the staircase.
▪ Every floor has its own restroom.
▪ Aside from the elevators and the stairs, you can also use the ramp to get to each
floor.

Reminders
▪ Please read the warning signs. Strictly follow the rules and guidelines at all times.
▪ Fall in line and wait for your turn. Be courteous and respect other people’s time
and space.
▪ Parents and adults should supervise the children while inside the museum.
▪ Don’t be too loud. Tone down your voice.
▪ Respect the place. Do not litter nor vandalize.

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 Module GE 6 Name: ____________________________________________
Activity No. 2.5.1 Program/Year: ____________Date Submitted: ___________

The Why’s when Visiting Gallery/Museum

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ Sometimes, there are no written guidelines that you can see posted in galleries.
Gallery and museum visitors are clueless as to how they should behave in such
spaces.
▪ Let us try to answer the following questions as to why we should not do such
things.
▪ Answer the questions below:

1. Why do you think touching a painting is inappropriate? If you have just had a
portrait of yours printed on photo paper with its vibrant colors showing, would it
be okay if other people touched it and left their fingerprints? Why?

2. When visiting a gallery, what do you think are the main points of interest?
What would taking selfies or mocking poses do to the art pieces on display?

3. Can you liken the environment of a gallery or museum to a theme park? Can
you behave the same way when you go to a theme park and an art institution?
Why?

4. If you do laundry, often you will not hang the brightly colored clothes outside
and under the sun for too long. Hence, when you use flash to take photographs,
how do you think it affect the paintings?

5. Some art pieces are free-standing in a gallery. They are either placed on
pedestals or upright on their own. How can your bulky bags and items and even
your food damage such works?

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2.6 What Now?: The Contemporary Times

In this chapter we will study some artists who have painted the beat of the
postmodern. Let us look at and learn about how their work depicted the era and
how the era influenced their interpretations.

The “now” is what critics call contemporary, or postmodern, which is the product
of artistic sensibilities and attitudes following the modernist period. If we look at world
events against its background, we can take into consideration one very important
achievement: technology. Such was the context of the postmodern era. Critics were at
first uncertain of how they should describe the movements following the modern period,
but later on, contemporary art formed its shape and convinced us that it is an era of its
own.

Technology and the rise of the World Wide Web have direct repercussions on the
field of visual arts. New media was explored by artists. Subject matters were more diverse
and also echoed the effects of technology. Approaches to art have become multi-faceted,
multi-dimensional, and multi-modal. Since information and communication our now at
our fingertips, the effects of globalization are also evident in our jobs, to the things we
consume, to the international influences on our culture, and also to what we create in the
art scene. In short, one key word to describe the arts that is happening in the “now”, is
pluralism.

Precursors of postmodern art in the Philippines can be dated back to the EDSA 1
revolution. During the Aquino government, many reforms in the once Marcos-controlled
institutions like the CCP, National Museum, and Metropolitan Museum of Manila were
implemented. There was a move toward the decentralization of art institution. The three
primary reform thrusts of the CCP were Filipinization, democratization, decentralization,
and artistic excellence. Because of this, some marginalized artists and art groups during
the Marcos regime were given opportunities to display their works to the public. Filipino
masses also had more access to the art collections and grants were given to those who
aspired to produce and exhibit works from their local areas.

For a long time, art served as an instrument to promote the agendas of individual
politicians, curbing the emerging identity of the Philippine art. Hence, when we finally set
ourselves free of the entanglements of such political powers, many independent artist
organizations were formed in the country such as Concerned Artists of the Philippines,
Printmakers Association of the Philippines, Salingpusa, Ugatlahi, and many others.

To give more recognition to artists and folk artists who are important pillars of the
society’s notion of patriotism, the government reestablished awarding systems through
the National Artist award, Gawad CCP para sa Sining, Gawad sa Manlilikha ng Bayan
for Philippine traditional arts, and the revived CCP Thirteen Artists Awards. Private bodies
also developed their own awards systems and have helped in discovering, promoting, and
supporting emerging artists of the whole archipelago.

Examples: Ateneo Art Awards, Philippine Art Awards of the Philip Morris Group of
Companies, Metrobank’s M.A.D.E. competition, etc.

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 Let us now study the implications of contemporary issues for some artists whose
works echo the issues you have discussed and debated previously:

1. BenCab-National Artist for Visual Arts-Benedicto Cabrera

has works which span a lot of important periods in our
history, especially the postwar period. One of his work
series entitled “Sabel” depicts the disorientation that
Filipinos experienced during the postwar period.

2. David Medalla- “The avatar in Europe in performance art,”

as described by art critic Leo Benesa. Performance art is one
of the new artistic expressions of the contemporary period
where the artist himself is the artwork.

3. Pacita Abad- One of the women artists in the country that

has produced a strong voice and identity when it comes to
women’s art. Born in Batanes, her works are characterized
by bold and bright colors. She has travelled to more than 50
countries with works exhibited to more than 200 galleries.

4. Elmer Borlongan- Painter of Filipino nuances which he

depicted with much dignity in his masterful works. His
paintings are mostly figurative with subject matters that
tackle mostly the daily and mundane activities and
interactions of Filipinos. He is one of the most exceptional
in the aspect of painting in our country.

5. Mark Salvatus- He has created much discourse and

narratives in his works on the notions of urbanization,
Internet, and technological age, with political, social, and
economic grounding. His works are considered intermedia,
combining mark-making, sounds, videos, and found objects
in his works.

6. Leeroy New- One of the youngest recipients of Thirteen

Artists Awards, Leeroy is an artist of his own, known mostly
for his installation art that are often other-worldly with an
alien feel. He pioneered the “Aliens of Manila”, which are
curated photographs of people wearing his creations of
bodysuits and headgear.

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 7. Archie Oclos- He is always been active in the public
sphere, painting murals depicting social realities of both
the present and the memories of the past governments.
He was recently awarded one of the Thirteen Artists of
CCP.

8. Mars Bugaoan- A young and emerging artist whose works

echo the displacement that we often experience because
of the demands of work and globalization. His works have
evolved from printmaking to being sit-responsive,
incorporating the landscape of the site into the installation
of the art piece.

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 Module GE 6 Name: ____________________________________________
Activity No. 2.6.1a Program/Year: ____________Date Submitted: ___________

It’s my Say!
𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ The growth of art scene after modernism has become fast-paced, propelled
more by the effects of globalization.
▪ Given the changes that happened after the revolution together with the
decentralization, Filipinization, and diversification of modes and media in the
arts, write a short essay about your opinion about these events in our
contemporary art scene.
▪ Utilize the Guide Questions below and be guided with the Writing Essay Rubric
(Teachers Notebook) provided for your guidance.
▪ You may choose from the following output delivery modes:
a. write, scan and send your output to a specified email address/platform
b. encode and send your essay and send it to a specified email
address/platform
c. print this activity sheet, write your essay and submit it on-site on or before
the scheduled date for submission (applicable for offline students)

GUIDE QUESTIONS:
1. How has the internet age affected the works of artists?
2. What are the factors taken into consideration in the life of an artist? What
do you think are the implications of these in their lives?
3. What can you say about artist validation systems? (awards and
competitions)
4. How has diaspora and displacement affected and modified artistic
expressions?
5. How do you think individual art bodies or organizations are shaping our
attitude toward the arts?
 Module GE 6 Name: ____________________________________________
Activity No. 2.6.1b Program/Year: ____________Date Submitted: ___________

It’s my Say! (continued)

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Write your essay here…

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 Chapter 3 Prelude: Learning to Listen

Intended Learning Outcomes:At the end of this chapter, the students are expected to:

1. Appreciate the aural world, developing a sharper awareness between sound and
silence;
2. Develop a subjective feeling/perception/taste between compositions that may be
considered as either music or just plain noise;
3. Identify, comprehend and apply the concepts behind the elements both theoretically
and in practical application;
4. Critically compare the differences in pitches, whether they rise, fall, or stay the same,
or move in steps or leaps of the music listened
5. Recreate sounds using systematic rhythmic patterns
6. Familiarize one’s self with musical terms related to rhythm
7. Appreciate the different sounds different musical instruments are able to produce;
8. Develop a creative, discerning taste of which timbre would best fit particular
parameters when composing.
9. Distinguish between different musical forms and styles, and discover how these same
forms and styles are also evident in other fields of art, notably the visual arts;
10. Distinguish between binary and ternary form when listening to music
11. Determine the different styles and genres and its subgenres of music,
12. Identify the different roles and purposes of music in society;
13. Reflect the value of music in the society, and how it can help enrich and ennoble our
existence as human beings; and
14. Develop a good taste for music.

3.1 The Aural Realm: Sound, Silence, Music, and Noise

Listening and Hearing are two different

Aa things. Throughout the curse of
this module, we will be listening a lot, not just hearing music. And that
takes an active effort to pay attention to details, react, and give meaning
to what we hear.

Concepts of the aural realm

Sound- a wave, a mechanical disturbance in matter that originates from a source and is
sent outwards; when two or more objects collide, they form vibrations that are
transmitted through the air of other mediums.
o Hearing- the sense that perceives sounds; in humans as well as animals,
the ear is the sense organ that picks up sounds; the sounds we hear
may be classified as music, language, noise or a mixture of all of these.
o Audible range- the spectrum of sound is wide-the human ear can only
hear a certain range from this spectrum; depends on two factors:
a. Volume- refers to the loudness or softness of a sound
and is measured by decibels (dB); sounds more than 80-
90 decibels may be dangerous to human ears when
exposed in long durations.
 b. Pitch- refers to how high or low a particular sound is, and
is measured in hertz (Hz); average hearing range for
humans begins at 20 Hz and tops out at around 20,000
Hz.

Silence- the condition or quality of being quiet; basically, the absence of audible sound or
noise; in music, silence is also very important parts where there is absence of sound are
as important and meaningful as the parts when there is sound.
Music- the art of organizing and putting together an array of sounds into meaningful,
perceptual experience; allows certain conventional patterns to convey a message and to
express aesthetic, cultural, or artistic purposes and classified into various genres such as
classical, popular, jazz, folk, and country.
-It is an abstract form of art, maybe even the most abstract and subjective of all
the arts and is perceived to have an effect on many living things. As the saying goes,
“Music hath charms to soothe the savage beast.” It appeals directly to our emotions, and
opens up an avenue to the subjective states of man.
Noise- any sound that lacks reference to musical quality and is generally considered
unpleasant or unbearable to the human ear.

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 Module GE 6 Name: ____________________________________________
Activity No. 3.1.1a Program/Year: ____________Date Submitted: ___________

Track Listening Analysis

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

[NOTE: This activity is a self-learning/supplemental activity. You are not required to

submit this.]

Activity Details:
▪ Listen to these two music clips:
a. Track 2: Tone Contagion
b. Track 3: Baleleng (The Mermaid’s Song), arr. for piano & orchestra-Alejandro
Consolacion

ANALYSIS:

1. As you listened to Track #2, what did you hear? Describe.

_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________

2. Next, describe what you heard from Track #3.

_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________

3. Compare what you head between the two tracks. Are there any similarities?
What are the differences?

_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________

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 Module GE 6 Name: ____________________________________________
Activity No. 3.1.1b Program/Year: ____________Date Submitted: ___________

Track Listening (Analysis) (continued)

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

ANALYSIS:

4. List down 3-5 words that you may associate with what you heard from Track #2.
The words may be anything: nouns, names of places, people, adjectives, feelings,
abstract ideas, or verbs. There is now wrong answer, as long as you can explain
sensibly/artistically why you chose those words to describe what you heard from
the first track.

__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________

5. Following the same idea from number 4, list down 3-5 words that you may
associate with what you heard from Track #2. Elaborate why you chose those
words.

_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________
_______________________________________________________________

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 Module GE 6 Name: ____________________________________________
𝑐𝑢𝑡 ℎ𝑒𝑟𝑒 Activity No. 3.1.2 Program/Year: ____________Date Submitted: ___________

Rhythmic Composo

Activity Details:

• Create a simple, creative, and unique composition, highlighting both sound and
silence suing simple materials found in your house or using body parts.
• The composition need not have a melody or lyrics; it may be simple rhythmic
sounds.
• Simply record an audio or take a short video of your composition with a
maximum time limit of 2 minutes.
• Then send it in the allowed media.

I. Assessment
1. What is audible range?

____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________________________________________________

2. In what units of measurement is pitch measured? How about volume?

____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________________________________________________

3. Research the term “white noise”. Define and explain.

____________________________________________________________
____________________________________________________________
____________________________________________________________

4. Research the term “music of the spheres.” Define and explain.

____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________________________________________________

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3.2 Hear Me Out: Of Voices and Harmonies

In this lesson, we will be learning about the three basic elements of music:
Aa
melody, harmony, and dynamics. We are not merely going to know their
definitions, but we will be experiencing and applying each of these elements
through different activities.

Great melodies create good memories

3 Basic Elements of Music:

❖ 1. What is melody?
• An aspect of music which is probably the first and foremost thing that we
remember when we listen to a song, or instrumental pieces; leaves a
lasting impression in the minds of listeners.
• This is usually found in the chorus or refrain rather than in verses.
• a group of pitches used in a coherent patter or succession.

Example: When we try to recreate a song, especially one that we hear on the radio,
we sing the most familiar part/s of it-where the melody is “catchy”. We usually
sing, hum, or whistle to a melody that appeals to us.

o Pitch
• the quality of the highness or lowness of a sound.
• If sound did not have the quality of pitch, then we would have no
distinct tunes or melodies in our songs, for all would sound like a
monotonous drone.

Situational Illustration: The barking of dogs, the drilling of jackhammers, o

an alarm clock going off all have pitches, but they are indefinite. This is one
reason why these sounds are not normally used as musical material.
However, some instruments such as cymbals and the tambourine have no
definite pitch, which is why these do not usually carry a melodic line in
music.

o Interval
• The distance between two pitches in music; may be small, as in steps,
or may be big, as in leaps.

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 Art Appreciation
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 ❖ 2. Harmony

• an event in which two or more pitches, or notes, sound simultaneously.

• Not all pitch combinations may sound pleasing or “harmonious” to the
ears; hence, we have the concept of consonance and dissonance.
o Consonance-when two or more notes are at rest or resolved
with each other
o Dissonance-may also be referred as “discord”; when two or
more pitches sound tense or unresolved when heard together
Situational Illustration: When someone sings karaoke or videoke
out of tune.

o Chord
• a device in harmony where two or three pitches are
sounded
together.
• Chords are not chosen randomly; they are derived from a
scale.

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 o Scale
• A set of pitches arranged in a particular sequence, and may
either run going up (ascending) or going down (descending).
• In Western music, scales use sol-fa syllables, which are
namely: do-re-mi-fa-sol-la-ti-do.
• Therefore, if we review our intervals:
Do-do= unison (1-1) (same note)
Do-re= second (1-2)
Do-mi= third (1-3)
Do-fa= fourth (1-4)
Do-sol= (fifth) (1-5)
Do-la= (sixth) (1-6)
Do-ti= seventh (1-7)
Do-do= eighth, (1-8) or more commonly called an octave.

Here, we can see that melody is the horizontal aspect of music, while
the vertical aspect (combination of tones such as chords) is the
harmony.

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 o Triad
• a type of chord which is made up of three tones, stacked
one on top of the other.
• The most common and basic type of chord employed in
the everyday music we hear.
• The two most common types of triad used in music: the
major and the minor triad, or simply the major and
minor chords.

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 Sound waves and Sound weaves: Texture

o Texture
• Refers to the various layers of melodic lines and sounds
happening simultaneously in a composition.
• Monophony- the most basic texture; a single
unaccompanied melody.

Situational Illustration: When someone sings a tune a capella.

• Polyphony- the type of texture when two or more

tunes/melodies are played or sung together at the same
time.
• Contrapuntal- derived from the word counterpoint (the
organized study of composing and combining melodies
together), sometimes used interchangeably with
polyphony.

Situational Illustration: An example of Polyphonic music is the

round song, “Row, row, row your boat”, sung imitatively in differing
time intervals.

o Homophony
• A melody is accompanied and harmonized
simultaneously by chords.
• Here, the melody is of primary interest while the
accompanying chords are subordinate to the melody.
• A lot of popular songs and church hymns have this type
of texture.

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Dynamics: From whispers to explosions

❖ 3. Dynamics
• The property of music that deals with its loudness or softness (volume).
• In music, Italian terms are used to label variations in the loudness or
softness of a sound; these terms are written on the score or piece- the
physical written/printed form of music.

Name Letters Level

very very
fortissimissimo fff
loud

fortissimo ff very loud

forte f loud

mezzo-forte mf
average
mezzo-piano mp

piano p quiet

pianissimo pp very quiet

very very
pianissimissimo ppp
quiet

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 Three Italian words are used to show gradual changes in volume:

• crescendo (abbreviated cresc.) translates as "increasing" (literally "growing")

• decrescendo (abbreviated to decresc.) translates as "decreasing".
• diminuendo (abbreviated dim.) translates as "diminishing".

Signs sometimes referred to as "hairpins" are also used to stand for these words (See
image). If the angle lines open up ( ), then the indication is to get louder; if they
close gradually ( ), the indication is to get softer. The following notation indicates
music starting moderately strong, then becoming gradually stronger and then
gradually quieter:

Hairpins are usually written below the staff (or between the two staves in a grand
staff), but are sometimes found above, especially in music for singers or in music with
multiple melody lines being played by a single performer. They tend to be used for
dynamic changes over a relatively short space of time (at most a few bars),
while cresc., decresc. and dim. are generally used for changes over a longer period.
Word directions can be extended with dashes to indicate over what time the event
should occur, which may be as long as multiple pages. The word morendo ("dying") is
also sometimes used for a gradual reduction in dynamics (and tempo).
For greater changes in dynamics, cresc. molto and dim. molto are often used, where
the molto means "much". Similarly, for more gradual changes poco cresc. and poco
dim. are used, where "poco" translates as a little, or alternatively with poco a
poco meaning "little by little".
Sudden changes in dynamics may be notated by adding the word subito (meaning
"suddenly") as a prefix or suffix to the new dynamic notation. Subito piano
(abbreviated sub. p) ("suddenly soft") indicates that the dynamics quickly, almost
abruptly, lower the volume to approximately the p range. It is often purposefully used
to subvert the listener's expectation and will signify an intimacy expression. Although
it uses the piano p dynamic symbol, the performer has slight freedom in their
interpretation, causing it to vary based on the preceding loudness or character of the
piece.
Accented notes can
benotated sforzando, sforzato, forzando or forzato (abbreviated sfz, sf, or fz)
("forcing" or "forced"), or using the sign >, placed above or below the head of the
note.
Sforzando (or sforzato, forzando, forzato) indicates a forceful accent and is
abbreviated as sf, sfz or fz. There is often confusion surrounding these markings and
whether or not there is any difference in the degree of accent. However, all of these
indicate the same expression, depending on the dynamic level,[11] and the extent of
the sforzando is determined purely by the performer.
The fortepiano notation fp indicates a forte followed immediately by piano. By
contrast, pf is an abbreviation for poco forte, literally "a little loud" but (according to
Brahms) meaning with the character of forte, but the sound of piano, though rarely
used because of possible confusion with pianoforte).

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 Extreme dynamic markings

Two measures of Sergei Rachmaninoff's Prelude in C♯ minor showing dynamic

markings sffff. The top two staves are both played by the right hand, the bottom
two by the left.
While the typical range of dynamic markings is from ppp to fff, some pieces use
additional markings of further emphasis. Extreme dynamic markings imply an
extreme range of loudness, or, alternatively, imply an extremely subtle distinction
between very small differences of loudness within a normal range. This kind of usage
is most common in orchestral works from the late 19th-century onwards. Generally,
these markings are supported by the orchestration of the work, with heavy forte
markings brought to life by having many loud instruments like brass and percussion
playing at once.

• The abovementioned dynamic terms reveal one thing common between

human beings and music: they both express feelings and emotions.
• In conversation, a person’s tone and volume of voice may get softer or
louder, more endearing or angry, depending on the situation or feelings
expressed.
• The same is true for music, it is a living, communicative art form.

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 Module GE 6 Name: ____________________________________________
𝑐𝑢𝑡 ℎ𝑒𝑟𝑒 Activity No. 3.2.1 Program/Year: ____________Date Submitted: ___________

Listen!

[NOTE: This activity is a self-learning/supplemental activity. You are not

required to submit this.]

Activity Details:
▪ Listen to a sample piece of music. [Track #4: “Pen-pen de Sarapen”]
▪ After listening to the track above, answer the following questions:

1. Describe the melody of “Pen-pen de Sarapen.” Listen to the intervals

between the pitches. Does it generally move in steps or in leaps? Draw a
line graph of its shape.

____________________________________________________________
____________________________________________________________
____________________________________________________________

2. Listen to the harmony (combination of sounds) in the piece. Does it sound

pleasing or does it irritate you? How does it make you feel?

____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________________________________________________

3. Take note of the range of the melody. Is it narrow or wide?

____________________________________________________________

4. Does the music change from soft to loud (dynamics) or does it remain the
same all throughout?

____________________________________________________________

5. What personal experiences from your childhood can you associate with
this song?
____________________________________________________________
____________________________________________________________
____________________________________________________________

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 Module GE 6 Name: ____________________________________________
𝑐𝑢𝑡 ℎ𝑒𝑟𝑒
Activity No. 3.2.2 Program/Year: ____________Date Submitted: ___________

I. Composing a Short Motive!

Activity Details:
▪ Compose a short motive about something- it may be about a place, a thing,
an idea, a pet, etc. Instruments or electronic devices may be used, as necessary.
▪ Take a video on the presentation of your output with a short
explanation/background about it.

II. Sing and conduct! (Option 2)

Activity Details:

▪ Think of a familiar tune or song that you can sing. You may invite your
family members or nearby friends to be your singers/performers and
you will act as the conductor to direct whether the group should sing
louder or softer.
▪ Note to Conductor: You need not beat the time. Just use simple signals
to denote changes in dynamics for your group to follow.
▪ Use both gradual changes in dynamics (example: piano to mezzo piano)
and sudden changes (example: pianissimo to forte).

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3.3 Hearing Your Heartbeat Makes Me Blush: Rhythm and Timbre

Can you feel my heart beating? I’ve got rhythm

In this lesson, we will be learning and understanding the concepts behind the musical
element’s rhythm and timbre; recreate Aasounds using systematic rhythmic patterns
and appreciate different sounds, different musical instruments are able to produce;
and be able to develop a creative, discerning taste of which timbre would best fit
particular parameters when composing.

Music would be meaningless without rhythm. Literally, our lives would stop if hearts
stopped beating…figuratively; we would be lifeless if there was no one who made
our hearts beat…I know, that sounds cheesy. The same can be said for music.

❖ Rhythm
• Refers to the aspect of time in music.
• Determines how long or how long or how short a pitch will sound, the
employment of time patterns, the length of silences in between notes, and
also covers the speed of the music.
• Gives direction and character to each piece, as we will see later.

Can time in music be measured?

• In music, we use beats or counts to measure musical time.

• Conductors use hand gestures or their baton to wave and count the time
when directing an orchestra, choir, or band.

❖ Meter
• a repeating pattern of strong and weak beats.
• In musical notation, meter is represented within measures or bars
• It tells us how many beats are there in a single measure.
• The two common types of simple meter used:
a. Duple – a type of meter where beats are grouped in twos

Ex. March, reflecting the movement of our two feet.

(ONE two (1 2) (1 2), ONE two (1 2), ONE two (1 2); or left right, left
right)
(one is the strong beat, two is the weak beat)

b. Triple- a type of meter where beats are grouped in threes.

Ex. The song, “Bahay Kubo”
(ONE two three (1 2 3), ONE two three)
(one is the strong beat, while two and three are both weak beats)

➢ In music, meter is not always realized too strictly, or else it would sound
too “square”, as if it was manipulated by a robot. MIDI files would sound
like this.

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 ➢ In reality, rhythm and meter are organic, such as reflected in the natural
way we do things, such as walking, breathing, or even the beating of our
hearts.

➢ One concept of classical music is rubato, which literally means “robbed

time.” When doing rubato, musicians stretch the rhythm of the music, the
meter wavers, and it becomes elastic. Time is being “stolen” from the
beats when the speed increases- but later on will be “given back” slowing
down somewhere to achieve balance. It is like improvising rhythmically,
giving more emphasis and stress to some beats than others.

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Shifting gears- The fast lane and the slow

❖ Tempo
• How quickly or slowly these beats happen
• Dictates the pace of music, and it sets the mood and gives character to the
piece.
• Tempo markings are written in Italian, for Italian music had dominated the
cultural life of the European continent from around late 1500’s to the mid-
1700’s.
• The word “tempo” means “time” in Italian.

Grave Very slow

Largo Broad and dignified
Larghetto A little less slow than Largo
Largamente In a broad, slow manner
Adagio Slow; relaxed
Andante At a walking pace
Andantino Slightly faster than Andante
Moderato Moderately
Con moto With movement
Alegretto A little lively
Allegro Happy, quick
Vivace Lively, with life, quickly
Presto Very fast
Presstissimo Very very fast
Presto Possibile As fast as possible

Other terms used in conjunction with abovementioned terms:

poco A little
Poco a poco Little by little
accelerando Gradually getting faster
Ritardando; rallentando Gradually getting slower
molto Much
piu More
meno Less
Non troppo Not too much
assai Very
A tempo Very
marcato Markedly with emphasis
semplice Simply
lunga Long, held pause
Tempo primo Return to the original, initial speed of the
piece

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Along with these, mood or character markings are also sometimes used together with
tempo markings. Just like in dynamics, these try to convey human feelings and emotions.
Here are some examples:

Affettuoso With emotion

Agitato Agitated
Animato Animatedly, with life
Con calore With warmth
Con fuoco With fire
cantabile In a singing manner
doloroso With pain and sadness
dolce Sweetly
espressivo expressively
giocoso With humour
grazioso gracefully
leggierp Lightly
morendo In a dying manner
scherzando Jokingly
tranquillo calmly

➢ In classical or art music, these Italian terms are still widely used. However, in more
recent times, composers have been using the language of their origin (English,
French, German, and Filipino) to indicate expressive markings in their music.

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Musical Watercolors

❖ Tone color or timbre

• The quality of the notes we hear in music, dependent in the instruments,
voices, and the method of how these instruments and voices are
played/manipulated.

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 Module GE 6 Name: ____________________________________________
Activity No. 3.3.1 Program/Year: ____________Date Submitted: ___________

Listen and Analyze!

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

[NOTE: This activity is a self-learning/supplemental activity. You are not

required to submit this.]

Activity Details:
▪ Listen to sample music: [Track 11: Piano Piece in Eb- A. Roldan]
▪ Then answer the following questions:

1. Based on what you heard, give descriptions about the speed and mood of
the piece using your own words.

2. Explain why you choose those words.

3. If this piece were to be background music for a film, what would be the
scene that comes to your mind?

4. If this piece were to be used as background for a TV advertisement, what

product would it be used for? Why would it be effective?

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 Module GE 6 Name: ____________________________________________
Activity No. 3.3.2 Program/Year: ____________Date Submitted: ___________

Recreate Me!
𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ Suppose that you are a composer, commissioned by a gaming company to write
background music for characters of an online video game.
▪ Choose one instrument/group of instruments that will most likely suit the
character and explain/discuss with the class why you chose this, in relation to its
tone color.
▪ Describe the similarities between the character and your chosen instrument’s
tone color.

1. CHARACTER: TROLL
Choose from:
a. Violin b. Flute c. Harmonica d. Timpani

2. CHARACTER: KNIGHT
Choose from:
a. Bass Guitar b. String Orchestra c. Saxophone

3. CHARACTER: DRAGON
Choose from:
a. Gamelan b. Full Orchestra c. Drum Set

4. CHARACTER: MERMAID
Choose from:
a. Flute b. Voice c. Gamelan d. Piano

5. CHARACTER: IMPERIAL GUARD

Choose from:
a. Brass Band b. Electric Guitar c. Trumpets

6. CHARACTER: GOLEM
Choose from:
a. All Male Choir b. Full Orchestra c. Drum Set

7. CHARACTER: IMPERIAL GUARD

Choose from:
a. Marimba b. Bassoon c. Cello

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3.4 Functionality or Fashion?: Forms and Styles

In this lesson, we will be able to appreciate

Aa the forms and structures in music,
including its different styles and genres.

It is said that we human beings are God’s masterpiece. If we observe closely, almost all
of creation- whether it may e celestial bodies (planets and stars), plants and animals,
and other living things- have something in common. Nature indeed dictates that there
be balance and symmetry in everything.
Factory Settings: Forms in Music
Form

• A musical work’s shape, structure, and the organized arrangement of its

elements- and how these elements are manipulated so that the work makes
sense.
• Widely employed in all other arts, in poetry, literature, sculpture, and
architecture.
For hundreds of years, composers have been creating music-even large scale works such as
concertos, symphonic poems, and operas. These types of music require a long duration to
perform and may be tiring for the listener.

Repetition and Contrast

• There is duality in how musical elements are utilized.

• Example: In a hymn or a song’s lyrics, there are verses, and these are usually
different from one another. But the chorus/refrain of a song is usually always
going to be the same, and is most likely to be repeated more than once.
• Letters are conventionally used to label repetitions and contrasts.
• Example: If a form is labelled A B A, the A signifies the repetition while B signifies
the elements of contrast.

Two and Three-Part Forms

Binary (Two-Part)

• a type of musical form with two contrasting parts (“A” part and “B” part)
Illustration:

A B

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Three-Part (Ternary)
• A type of musical form with three parts.
• The first part, “A”, is repeated after the second part, “B”. This makes this form
symmetrical.

Illustration:

A B A

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 Art Appreciation
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 Module GE 6 Name: ____________________________________________
Activity No. 3.4.1 Program/Year: ____________Date Submitted: ___________

I. Let’s Brainstorm/Elicit Responses

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

[NOTE: This activity is a self-learning/supplemental activity. You are not

required to submit this.]

Activity Details:
▪ Here is a sample list of some styles of music. Use your own words about
ideas/people/things/places/events that you associate with each style given.

1. Classical Music-
2. Popular Music-
3. Country Music-
4. Electronic Music-
5. Jazz-
6. Ethnic Music-
7. Hip-hop-
8. Musical Theatre-
9. Rhythm and blues-

II. Listen and Learn!

Activity Details:

▪ Listen to sample music. [Track 13: Yankee Doodle]

▪ Listen closely, this song is in binary form (A-B).

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 Module GE 6 Name: ____________________________________________
Activity No. 3.4.2 Program/Year: ____________Date Submitted: ___________

Background Me!
𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ Imagine you were a film-scorer. You are commissioned to create background
music for a particular film.
▪ Find a story/novel that has not yet been adapted to film.
▪ Use the style/genre of music you want to create its background and explain why
you chose it.
▪ What form would you use? Ternary or Binary? Present and discuss.
▪ Since audio is more important this time, you may submit an audio output.

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3.5 “NoMusic, No Life!” Its Value and Roles in the Society

Aa the specific roles or purposes of

In this lesson, we can look and study closely
music in human society.

Can you imagine a world without music? What kind of world would that be? Merry
melody…A world where no one whistles a tune, or hums a merry melody…how dull and
monotonous would that be.
One well-known notion about music is that it is a universal language, for it appeals and
speaks personally to our feelings and emotions. Music is also a creative process,
especially art music, for it demands a certain degree of musical proficiency, physical
dexterity and a valid interpretation of one’s own individual truths.
It is an avenue for self-expression, able to convey thoughts and ideas in ways that mere
words cannot describe.

The Roles of Music

I. As an art form:
a. As a medium for self-expression
b. A vehicle for the transmission (either oral or written) of cultural, artistic
heritage
c. A tool for preservation of a nation’s identity
d. Used as entertainment: touches human emotions and ennobles the
human spirit
e. A way of learning about the traditions, values, attitudes, performing
styles, beliefs, sensibilities and culture of a particular people, place or
period in history.
f. Showcases the human race’s talent and artistic capability

II. In Politics
a. Used to influence people, their mindsets, and their attitudes toward the
government (example: protest songs, songs calling for unity)
b. Used in political campaigns/advertisements
c. Instill a sense of patriotism and nationalism

III. In Business/Commerce
a. Used with product advertisements both in mass media (TV, radio,
newspapers) or in social media location
b. To create a specific atmosphere/ambience in a business location
(example: hotels)
c. Background music (BGM) for video gaming industry
d. Background music for both television and movie films

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 IV. Spirituality:
a. Used in rituals/ceremonies of tribes or other ethnic groups
b. Integral part of religious services
c. Medium of worshipping God

V. In Healing:
Music therapy- the use of music in conjunction with either medical or
naturopathic treatment of bodily ailments.

VI. Aide in Cognition:

Music helps to enhance the learning performance of students by actively
using skills sch as critical thinking, decision making, discipline, and refining
motor movements. It is easily relatable to other art forms such as painting,
sculpture, poetry, and literature, but can also be related to other subjects
such as mathematics, geometry, and values formation.

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 Module GE 6 Name: ____________________________________________
Activity No. 3.5 Program/Year: ____________Date Submitted: ___________

Getting to Know You Better!

𝑐𝑢𝑡 ℎ𝑒𝑟𝑒

Activity Details:
▪ Answer the following questions wholeheartedly.

1. Do you like music?

2. Do you sing or play a musical instrument? Are you part of any musical group?

3. What is your favorite musical style/genre?

4. How do you use music in everyday situations?

5. How do you perceive musicians in general?

6. Give an instance in your life where music has greatly helped or affected you.

7. How can the music that you listen to or perform define you as a person?
 REFERENCES

Adams, L. 2010. “The Methodologies of Art”. New York: Routledge. Accessed February 15,
2019. https://doi.org/10.4324/9780429494444.
Anderson, Keith.1990. The ABC of Classical Music: The Great Composers and Their
Greatest Works. Nashville, Tennessee: Naxos of America.
Blumenthal, Harold. 1998. The Classical CD Listener’s Guide. New York. NY: Billboard
Books.
De Botton, Alain and Armstrong, John. 2013. Art As Therapy. London: Phaidon Press
Limited.
https://www.thepoortraveler.net/2020/01/national-museum-of-fine-arts-manila/

Kerman, Joseph. 1987. Listen: Brief Edition. New York, NY: Worth Publishers, Inc.
Machlis, Joseph and Forney, Kristine. 1999. The Enjoyment of Music: An Introduction to
Perceptive Listening. New York, NY: W.W. Norton & Company, Inc.
Morgan, Robert. 1991. Twentieth Century Music: A History of Musical Style in Modern
Europe and America. New York, N.Y.: W.W. Norton & Company, Inc.
Roldan, Albert Napoleon J. et.Al. (2019). A Course Module for Art Appreciation (1 st
Editon).84-86 P. Florentino St., Sta. Mesa Heights, Quezon City: Rex Printing Company,
Inc.
Welch, Roy. 1927. The Appreciation of Music. New York, NY: Harper & Brothers.

PHOTOS/GRAPHIC ATTRIBUTIONS:

https://en.wikipedia.org/wiki/National_Museum_of_Anthropology_(Manila)#/media/Fil
e:Rizal_Park_map.png

https://www.thepoortraveler.net/2020/01/national-museum-of-fine-arts-manila/

musicnotes.com (scale notes)

talentcir.com (teacher graphics)

TUPANG GALA, PUBLISHED JUNE 6, 2018

Wikipedia, the free encyclopedia

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 ABOUT THE AUTHORS

ZILPAH DALES-ABARING, M.A.Ed. is an Assistant Professor at

the University of Southern Mindanao-Kidapawan City Campus.
She finished her Bachelor in Secondary Education, Major in
English, graduated magna cum laude, at Central Philippine
Adventist College, Alegria, Murcia, Negros Occidental in 2007.
She finished her Master of Arts in Education, Major in
Educational Administration at Central Mindanao Colleges,
Quezon Boulevard, Kidapawan City in 2012. She earned units in
Doctor of Education, Major in Educational Management at
University of Southern Mindanao, Kabacan, Cotabato in 2016.

At present, she is teaching Professional Education courses in the

College of Education, Arts and Sciences and General Education
courses in the College of Engineering and College of Technology
in this University.

Aside from her teaching career, she is also a musician, a

composer (has copyrighted original song composition), a vocal
coach, a socio-cultural trainor, conductor and musical director
and was even given an opportunity and privilege to travel
abroad sponsored by Women’s Organization.

MARLYN D. APOLINARIO, Ed.D. is an Assistant Professor at the

University of Southern Mindanao-Kidapawan City Campus. She
finished her Bachelor in Secondary Education, Major in English,
Minor in Mathematics at Mindanao State University-
Maguindanao, Dalican, Dinaig, Maguindanao in 1994. She
finished her Master of Arts in Education, Major in Educational
Administration at Central Mindanao Colleges, Quezon
Boulevard, Kidapawan City in 2011. She earned her Doctor of
Education, Major in Educational Management, Minor in
Education Extension at the University of Southern Mindanao,
Kabacan, Cotabato in 2016.

At present, she is teaching General Education courses in the

College of Education, Arts and Sciences and College of
Technology in this University.

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