Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
Grade 10
Teacher’s Guide
GOVERNMENT PROPERTY
NOT FOR SALE
ALLOTTED TO
District/ School: ____________________________________________________________
Division: ____________________________________________________________
First Year of Use:____________________________________________________________
Source of Fund (year included): ______________________________________________
Department of Education
Republic of the Philippines
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
HORIZONS Grade 10
Teacher’s Guide
Music and Arts Appreciation for Young Filipinos
ISBN 978-971-793-022-0
All rights reserved. No part of this book may be reproduced or transmitted in any form or by any
means—electronic or mechanical, including photocopying, recording, or any information storage
or retrieval system without prior written permission from the publisher.
Published by
Tawid Publications
102 B. Gonzales St., Xavierville II
Loyola Heights, Quezon City 1108
Metro Manila, Philippines
(+63-2) 453-7918
tawidcorp@yahoo.com; tawidpub@gmail.com
Editorial Board
Editors:
Evelyn F. Cabanban
Melissa Y. Moran
Milagros P. Valdez, language reader
ii
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
TABLE OF CONTENTS
MUSIC
iii
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS
Impressionism ............................................................................... 91
Expressionism: A Bold New Movement........................................... 97
Abstractionism .................................................................................. 101
Abstract Expressionism, Pop Art, Op Art ......................................... 105
Installation and Performance Art ................................................... 111
iv
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC
Grade 10
Teacher’s Guide
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Republic of the Philippines
Department of Education
DepEd Complex, Meralco Avenue
Pasig City
K to 12 Curriculum Guide
MUSIC
(Grade 10)
December 2013
K to 12 BASIC EDUCATION CURRICULUM
CONCEPTUAL FRAMEWORK
Both the Music and the Arts curricula focus on the learner as recipient of the knowledge, skills, and values necessary for ar tistic expression and
cultural literacy. The design of the curricula is student-centered, based on spiral progression of processes, concepts and skills and grounded in performance-
based learning. Thus, the learner is empowered, through active involvement and participation, to effectively correlate music and art to the development of his/her
own cultural identity and the expansion of his/her vision of the world.
As Music and Arts are performance-based disciplines, effective learning occurs through active experience, participation, and performance, creative
expression, aesthetic valuation, critical response, and interpretation. The skills that are developed include reading/analyzing, listening/observing, performing,
(singing, using musical instruments, movement, acting, and playing, using different art materials, techniques and processes, responding, composing, and
creating. (See Figure 1 and Figure 2)
The philosophical foundations upon which standards and competencies are based include: A Process of Education by Jerome Bruner, Performance-Based
Learning by Cleve Miller, Aesthetic Education by Bennett Reimer, Multiple Intelligences by Howard Gardner, A Structure for Music Education by Ronald
Thomas, Gongs and Bamboo by Jose Maceda, Compendium on the Humanities: Musical Arts produced by the National Research Council of the Philippines,
Cultural Dictionary for Filipinos by Thelma Kintanar and Associates, Creative and Mental Growth by Viktor Lowenfeld and W. Lambert Brittain, Discipline-Based Art
Education by Elliot Eisner, Encyclopedia of Philippine Arts and Tuklas Sining, both produced by the Cultural Center of the Philippines.
K to 12 BASIC EDUCATION CURRICULUM
Music is both an aural and a temporal art. All its elements, when interwoven in the highest artistic order, are likened into a -- tapestry moving in time. The
global weavings of this tapestry in historical and cultural contexts are diverse -- having spurred a continued metamorphosis to include a full range of purposes,
functions, and identities, from the utilitarian to aesthetic.
However, the basic nature of music does not change. In his book A Structure for Music Education, Ronald Thomas articulates that the nature of music is
expressive, ongoing, and creative. Through a language and medium of its own, music conveys ideas and feelings in a way that addresses the human spirit, and
has great value in its communicative process. Music, being responsive in interpreting contemporary times, is a continuing art. Aaron Copland describes this
characteristic as a continuous state of becoming. Like the other arts, music is a creative avenue for man’s individual quest for self- expression and fulfillment.
On these basic characteristics are founded the rationale of music study. A keen sensitivity to environmental and musical sounds needs to be developed.
The student must learn to ―hear, ―speak, and ―think in the medium of music. Simultaneously, growth and development in the skills that enable the application of the
learner’s knowledge should be encouraged, through active involvement in the various musical processes.
Drawing from the development of music pedagogy through the years, the K-10 Music Curriculum embodies the best practices advocated by the
SPIRAL, MULTI-CULTURAL, and INTEGRATIVE approaches in music education, as well as current philosophical tho ught about contemporary general education.
We envision that Music in the K-10 Program will effectively nurture and refine the learner’s artistic expression and cultural literacy, and celebrate his/her
national heritage, while it instils, within every individual Filipino learner, pride in his/her own cultural identity.
K to 12 BASIC EDUCATION CURRICULUM
-creating)
from K to 3
K to 12 BASIC EDUCATION CURRICULUM
LEARNING AREA STANDARD: The learner demonstrates an understanding of basic concepts and processes in music and art through appreciation,
analysis and performance for his/her self-development, celebration of his/her Filipino cultural identity and diversity, and
expansion of his/her world vision.
K-3 4-6 7 – 10
The learner demonstrates understanding of The learner demonstrates understanding of The learner demonstrates understanding of
fundamental processes through basic elements and concepts through salient features of music and art of the
performing, creating, and responding, performing, creating, and responding, aimed Philippines and the world, through appreciation,
aimed towards the development of towards the development of appreciation of analysis, and performance, for self-
appreciation of music and art, and music and art, and acquisition of basic development, the celebration of Filipino cultural
acquisition of basic knowledge and skills. knowledge and skills. identity and diversity, and the expansion of
one’s world vision.
K to 12 BASIC EDUCATION CURRICULUM
Kindergarten The learner is exposed to the different basic music and art processes through experiential learning.
The learner demonstrates basic understanding of the fundamental processes in music and art, through performing, creating, listening and observing, and
Grade 1
responding.
The learner demonstrates understanding of the basic and fundamental processes in music and art, through performing, creating, listening and observing,
Grade 2
and responding.
The learner has acquired the basic and fundamental processes through performing, creating, listening and observing, and responding, towards the
Grade 3
development of appreciation of music and art, and the acquisition of basic knowledge and skills.
Through the formal introduction of elements, the learner can identify the basic knowledge and skills in music and art, towards self-development, the
Grade 4
celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
Through exploration, the learner demonstrates a deeper understanding of basic knowledge and skills in music and art, towards self-development, the
Grade 5
celebration of Filipino cultural identity and diversity, and expansion of one’s world vision.
Through application, the learner demonstrates understanding of the basic concepts of and processes in music and art, towards self-development, the
Grade 6
celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
The learner demonstrates basic understanding of the fundamental processes in music and the arts through performing, creating, listening and observing,
Grade 7
and responding towards appreciation of the cultural richness of the different provinces in the Philippines.
The learner demonstrates understanding of salient features of Asian music and the arts, through appreciation, analysis, and performance for self-
Grade 8
development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
The learner demonstrates understanding of salient features of Western music and the arts from different historical periods, through appreciation,
Grade 9
analysis, and performance for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
The learner demonstrates understanding of salient features of contemporary music and the arts, through appreciation, analysis, and performance, for
Grade 10
self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
K to 12 BASIC EDUCATION CURRICULUM
MUSIC - GRADE 10
MUSIC OF THE 20TH CENTURY
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
FIRST QUARTER
A. Impressionism The Learner… The Learner... The Learner... *Edukasyong
1. listens perceptively to Pangkatawan,
a) Historical and demonstrates understanding creates musical pieces selected 20th century music; Kalusugan at
cultural background of 20th century music styles usingparticular style/s of the Musika. Sacdalan,
MU10TC-Ia-h-1
b) Composers: Claude and characteristic features. 20th Century. Guinevere IV. et
Debussy, and al, 1999. pp.182,
Maurice Ravel 203-208
2. describes distinctive musical *Edukasyong
B. Expressionism elements of given pieces in Pangkatawan,
20th century styles; Kalusugan at
a) Historical and MU10TC-Ia-h-2 Musika. Sacdalan,
cultural background Guinevere IV. et
b) Composer: al, 1999. pp. 203-
Schoenberg 208
3. relates 20th century music to *Edukasyong
C. Others its historical and cultural Pangkatawan,
background; Kalusugan at
a) Electronic music MU10TC-Ia-g-3 Musika. Sacdalan,
b) Chance music Guinevere IV. et
al, 1999. pp. 203-
208
4. explains the performance *Edukasyong
practice (setting, composition, Pangkatawan,
role of composers/performers, Kalusugan at
and audience) of 20 century
th
MU10TC-Ib-g-4 Musika. Sacdalan,
music; Guinevere IV. et
al, 1999. pp. 203-
208
5. sings melodic fragments of
given Impressionism period MU10TC-Ib-5
pieces;
6. explores other arts and
media that portray 20th MU10TC-Ic-h-6
century elements through
K to 12 BASIC EDUCATION CURRICULUM
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
A. Impressionism demonstrates understanding creates musical pieces video films or live
of 20th century music styles usingparticular style/s of the performances;
a) Historical and and characteristic features. 20th Century. 7. create short electronic and
cultural background chance music pieces using
b) Composers: Claude knowledge of 20th century
Debussy, and styles.
Maurice Ravel
B. Expressionism
a) Historical and
cultural background MU10TC-Ic-h-7
b) Composer: Schoenberg
C. Others
a) Electronic music
b) Chance music
SECOND QUARTER
AFRO-LATIN AND The Learner… The Learner... The Learner...
POPULAR MUSIC
demonstrates understanding performs vocal and dance 1. observes dance styles,
1. Historical and (cultural of characteristic features of forms of Afro-Latin American instruments, and rhythms of
background of African Afro-Latin American music music and selections of Afro Latin American and MU10AP-IIa-g-
and Latin American music and Popular music Popular music popular music through 1
2. Background of Popular video, movies and live
music performances;
3. African music 2. describes the historical and
a. Rhythms: Maracatu cultural background of Afro-
MU10AP-IIa-g-
b. Vocal forms: blues, Latin American and popular
2
soul, spiritual, call music;
K to 12 BASIC EDUCATION CURRICULUM
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
and response demonstrates understanding performs vocal and dance 3. listens perceptively to Afro-
4. Latin American music of characteristic features of forms of Afro-Latin American Latin American and popular MU10AP-IIa-h-
a. Instruments Afro-Latin American music music and selections of music ; 3
b. Vocal and Dance and Popular music Popular music
4. dances to different selected
form: Cumbia, tango, MU10AP-IIa-h-
styles of Afro-Latin American
cha-cha. Rumba, 4
and popular music;
bossanova, reggae,
5. analyzes musical
foxtrot, pasa doble MU10AP-IIa-h-
characteristics of Afro-Latin
5. Jazz 5
American and popular music;
a. Instrumental forms: 6. sings selections of Afro-Latin
ragtime, big band, American and popular music MU10AP-IIa-h-
bebop, jazz rock in appropriate pitch, rhythm, 6
6. Popular music style, and expression;
a. Ballad, standard, 7. explores ways of creating
rock and roll, sounds on a variety of
alternative music, sources suitable to chosen MU10AP-IIa-7
disco vocal and instrumental
selections;
8. improvises simple
vocal/instrumental MU10AP-IIe-f-
accompaniments to selected 8
songs;
9. choreographs a chosen
MU10AP-IIb-d-
dance music;
9
10. evaluates music and music
performances using
knowledge of musical MU10AP-IIa-h-
elements and style. 10
THIRD QUARTER
CONTEMPORARY The Learner… The Learner... The Learner...
PHILIPPINE MUSIC 1. listens perceptively to
(Minimum of 4 composers for demonstrates understanding sings contemporary songs excerpts of major MU10CM-IIIa-
each) of characteristic features of Contemporary works; h-1
contemporary music sings contemporary songs
K to 12 BASIC EDUCATION CURRICULUM
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
1. Traditional demonstrates understanding 2. describes characteristics of MU10CM-IIIa-
Composers of characteristic features of traditional and new music; h-2
contemporary music 3. gives a brief biography of *Edukasyong
a. Lucio San Pedro selected Contemporary Pangkatawan,
b. Antonino Philippine composer/s ; Kalusugan at
Buenaventura MU10CM-IIIc- Musika.
c. Antonio Molina g-3 Sacdalan,
d. Alfredo Buenaventura Guinevere IV. et
e. Rodolfo Cornejo al, 1999. pp.209-
f. Bernardino Custodio 220, 247-259
g. Antonio Buencamino 4. sings selections of
h. Hilarion Rubio Contemporary music with MU10CM-IIIb-
i. Rosendo Santos appropriate pitch, rhythm, h-4
j. Ryan Cayabyab style, and expression;
5. explores ways of creating
2. New Music MU10CM-IIId-
sounds on a variety of
e-5
sources;
a. Chino Toledo 6. improvises simple
b. Ramon Santos vocal/instrumental
c. Jose Maceda MU10CM-IIId-
accompaniments to selected
d. Manuel Maramba e-5
songs;
e. Lucresia Kasilag
f. Francisco Feliciano 7. create a musical on the life
g. Jerry Dadap of a selected contemporary MU10CM-IIIg-
h. Jonas Baes Philippine composer; h-7
3. Song Composer
a. Constancio de
Guzman
b. Mike Velarde 8. evaluates music and music
c. Ernani Cuenco performances using MU10CM-IIIh-
d. Restie Umali knowledge of musical 8
e. George Canseco elements and style.
f. Levi Celerio
g. Angel Pena
h. Leopoldo Silos
i. Santiago Suarez
K to 12 BASIC EDUCATION CURRICULUM
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS LEARNING COMPETENCY CODE
STANDARDS MATERIALS
FOURTH QUARTER
20th and 21st century The Learner… The Learner... The Learner...
MULTIMEDIA FORMS 1. describes how an idea or
1. demonstrates 1. performs selections story in a musical play is MU10MM-IIIa-
1. OPERA understanding of from musical plays, presented in a live h-1
a) La Loba Negra characteristic ballet, opera in a performance or video;
b) Noli Me Tangere features of 20th and satisfactory level of 2. explains how theatrical
c) El Filibusterismo 21st century opera performance. elements in a selected part
musical play, ballet of a musical play are MU10MM-IIIa-
2. BALLET and other 2. creates a musical combined with music and h-2
a) Lola Basyang multimedia forms. work using media & media to achieve certain
b) Rama Hari technology. effects;
2. demonstrates 3. sings selections from
3. MUSICAL PLAY understanding of MU10MM-IIIc-
musical plays and opera
a) Andres Bonifacio the relationship h-3
expressively;
b) Atang among music, 4. creates / improvises
c) Katy technology, and appropriate sounds, music,
d) Florante at Laura media.
gestures,movements, and MU10MM-IIIc-
e) Daragang costume using media and h-4
Magayon technology for a selected
f) Noli Me Tangere
part of a musical play;
g) El Filibusterismo
5. present an excerpt from a
h) Magsimula ka
20th or 21st century
Philippine musical and MU10MM-IIIg-
highlight its similarities and h-5
differences to other western
musical play.
Republic of the Philippines
Department of Education
DepEd Complex, Meralco Avenue
Pasig City
K to 12 Curriculum Guide
ART
(Grade 10)
December 2013
K to 12 BASIC EDUCATION CURRICULUM
CONCEPTUAL FRAMEWORK
Both the Music and the Arts curricula focus on the learner as recipient of the knowledge, skills, and values necessary for ar tistic expression and
cultural literacy. The design of the curricula is student-centered, based on spiral progression of processes, concepts and skills and grounded in performance-
based learning. Thus, the learner is empowered, through active involvement and participation, to effectively correlate music and art to the development of his/her
own cultural identity and the expansion of his/her vision of the world.
As Music and Arts are performance-based disciplines, effective learning occurs through active experience, participation, and performance, creative
expression, aesthetic valuation, critical response, and interpretation. The skills that are developed include reading/analyzing, listening/observing, performing,
(singing, using musical instruments, movement, acting, and playing, using different art materials, techniques and processes, responding, composing, and
creating. (See Figure 1 and Figure 2)
The philosophical foundations upon which standards and competencies are based include: A Process of Education by Jerome Bruner, Performance-Based
Learning by Cleve Miller, Aesthetic Education by Bennett Reimer, Multiple Intelligences by Howard Gardner, A Structure for Music Education by Ronald
Thomas, Gongs and Bamboo by Jose Maceda, Compendium on the Humanities: Musical Arts produced by the National Research Council of the Philippines,
Cultural Dictionary for Filipinos by Thelma Kintanar and Associates, Creative and Mental Growth by Viktor Lowenfeld and W. Lambert Brittain, Discipline-Based Art
Education by Elliot Eisner, Encyclopedia of Philippine Arts and Tuklas Sining, bothproduced by the Cultural Center of the Philippines.
K to 12 BASIC EDUCATION CURRICULUM
The Arts has been present since the beginning of civilization as it is an essential means for man to live and communicate with others. It has been used to
enhance man’s life and surroundings, to express his thoughts, dreams, and spiritual beliefs, and to share his own and his community’s aspirations, celebrations,
and events. Arts records, reflects, and rearranges man’s life and existence.
The Arts is a visualization of a people’s history and uniqueness, a reflection of their creativity and accomplishments, and a visible expression of their distinct
way of thinking, communicating, reasoning, and worshiping. It is expressed in a unique symbol system that is visual, kinetic and tactile. Howard Gardner,
an educator and psychologist, affirms that the arts develop the child’s “SPATIAL, INTRAPERSONAL, LINGUISTIC AND KINESTHETIC INTELLIGENCES” for the Arts
develop a distinct way of seeing, thinking, communicating, and creating in a person. Furthermore, Art develops and increases a person’s ability to apply
creative and new solutions, for new problems in our world. Schools, therefore, need to develop the multiple intelligences of a student through the arts. The K-
12 Arts Curriculum seeks to address these needs of our students for the 21st Century.
The 21st Century is a different world: it is highly visual, with a proliferation of images seen not only in static media like magazines, books, paintings and posters.
Now images are kinetic and accessible in various media like television, outdoor advertisements, movies, cell phones, and new technologies like iPads, iPods, DVD
players, personal computers, and tablets. Artists create, upload and share via the Internet, images, sounds, texts, films, videos, pictures, artworks and designs.
These are readily available and interactive, involving the viewer to react, comment and utilize these visuals through the Internet. Teaching Art to students is one way
for them to process and interpret the barrage of images and sounds, in a critical and intelligent manner.
The focus of the K-12 Art curriculum is PHILIPPINE ART, CULTURE and HERITAGE, appreciating the diversity of our local artists, our arts, crafts, and indigenous
materials to strengthen the student’s identity of being Filipino, before he/she is introduced to the art of other countries. The modules guide educators and provide
our students with art experiences, concepts, and processes that are presented in a SPIRAL PROGRESSION of difficulty and depth from Kindergarten to Grade 12.
The approach is CHILD-CENTERED and HANDS-ON in creating art using locally available materials. It develops the student’s imagination and individual
expression, and his/her CRITICAL THINKING SKILLS through inquiry into the aesthetic qualities of his work, the work of others and of artists from the Philippines
and other parts of the world. It culminates in connecting art to other subject areas and provides exposure and apprenticeship to professionals in various art-related
fields so the student can discover and consider the different career opportunities in the arts.
K to 12 BASIC EDUCATION CURRICULUM
Music Elements Arts Elements and Principles Music Processes Art Processes
Texture * Contrast
LEARNING AREA STANDARD: The learner demonstrates an understanding of basic concepts and processes in music and art through appreciation,
analysis and performance for his/her self-development, celebration of his/her Filipino cultural identity and diversity, and
expansion of his/her world vision.
K-3 4–6 7 – 10
The learner demonstrates understanding of The learner demonstrates understanding of The learner demonstrates understanding of
fundamental processes through basic elements and concepts through salient features of music and art of the
performing, creating, and responding, performing, creating, and responding, aimed Philippines and the world, through appreciation,
aimed towards the development of towards the development of appreciation of analysis, and performance, for self-
appreciation of music and art, and music and art, and acquisition of basic development, the celebration of Filipino cultural
acquisition of basic knowledge and skills. knowledge and skills. identity and diversity, and the expansion of
one’s world vision.
K to 12 BASIC EDUCATION CURRICULUM
The learner demonstrates basic understanding of the fundamental processes in music and art, through performing, creating, listening and observing, and
Grade 1
responding.
Grade 2 The learner demonstrates basic and fundamental processes in music and art, through performing, creating, listening and observing, and responding.
The learner has acquired the basic and fundamental processes through performing, creating, listening and observing, and responding, towards the
Grade 3
development of appreciation of music and art, and the acquisition of basic knowledge and skills.
Through the formal introduction of elements, the learner can identify the basic knowledge and skills in music and art, towards self-development, the
Grade 4
celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
Through exploration, the learner demonstrates a deeper understanding of basic knowledge and skills in music and art, towards self-development, the
Grade 5
celebration of Filipino cultural identity and diversity, and expansion of one’s world vision.
Through application, the learner demonstrates understanding of the basic concepts of and processes in music and art, towards self-development, the
Grade 6
celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
The learner demonstrates basic understanding of the fundamental processes in music and the arts through performing, creating, listening and observing,
Grade 7
and responding towards appreciation of the cultural richness of the different provinces in the Philippines.
The learner demonstrates understanding of salient features of Asian music and the arts, through appreciation, analysis, and performance for self-
Grade 8
development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
The learner demonstrates understanding of salient features of Western music and the arts from different historical periods, through appreciation, analysis,
Grade 9
and performance for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
The learner demonstrates understanding of salient features of contemporary music and the arts, through appreciation, analysis, and performance, for
Grade 10
self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
K to 12 BASIC EDUCATION CURRICULUM
GRADE 10
CONTENT PERFORMANCE
CONTENT LEARNING COMPETENCY CODE
STANDARDS STANDARDS
a. Impressionism 1. art elements and 1. performs/ participate 1. analyze art elements and
b. Expressionism processes by competently in a principles in the
c. Cubism synthesizing and presentation of a creative production of work
d. Dadaism applying prior impression following a specific art A10EL-Ib-1
e. Surrealism knowledge and skills (verbal/nonverbal) from style from the various art
f. Abstract Realism the various art movements movements
g. Pop Art 2. the arts as integral
h. Op Art to the development 2. recognize the difference 2. identify distinct
i. Performance Art of organizations, and uniqueness of the art characteristics of arts from
A10EL-Ia-2
j. Happenings and Mob spiritual belief, styles of the various art the various art movements
historical events, movements (techniques,
scientific discoveries, process, elements, and 3. identify representative
I. Principles of Art natural disasters/ principles of art) artists and Filipino
1. Rhythm, Movement occurrences and counterparts from the A10EL-Ia-3
2. Balance other external various art movements
3. Emphasis phenomenon
4. Harmony, Unity, and Variety 4. reflect on and derive the
5. Proportion mood, idea, or message
A10PL-Ih-1
from selected artworks
II. Process:
6. Painting and/ or Drawing 5. determine the role or
7. Sculpture and Assemblage function of artworks by
8. Mounting an exhibit: evaluating their utilization
2.1 Concept A10PL-Ih-2
and combination of art
2.2 Content / Labels elements and principles
2.3 Physical layout
6. use artworks to derive the
traditions/history of the A10PL-Ih-3
various art movements
K to 12 BASIC EDUCATION CURRICULUM
CONTENT PERFORMANCE
CONTENT LEARNING COMPETENCY CODE
STANDARDS STANDARDS
MODERN ART 1. art elements and 1. performs/ participate 7. compare the
processes by competently in a characteristics of artworks
a. Impressionism synthesizing and presentation of a creative produced in the various A10PL-Ih-4
b. Expressionism applying prior impression art movements
c. Cubism knowledge and skills (verbal/nonverbal) from
d. Dadaism the various art movements 8. create artworks guided by
e. Surrealism 2. the arts as integral techniques and styles of
f. Abstract Realism to the development 2. recognize the difference the various art movements A10PR-Ic-e-1
g. Pop Art of organizations, and uniqueness of the art (e.g., Impasto, Encaustic,
h. Op Art spiritual belief, styles of the various art etc.)
i. Performance Art historical events, movements (techniques,
j. Happenings and Mob scientific discoveries, process, elements, and 9. describe the influence of
natural disasters/ principles of art) iconic artists belonging to A10PR-Ic-e-2
occurrences and the various art movements
I. Principles of Art other external
1. Rhythm, Movement phenomenon 10. apply different media
2. Balance techniques and processes
1. Emphasis to communicate ideas,
2. Harmony, Unity, and Variety experiences, and stories
3. Proportion showing the
A10PR-Ic-e-3
characteristics of the
II. Process: various art movements
4. Painting and/ or Drawing (e.g., the use of industrial
5. Sculpture and Assemblage materials or found objects,
6. Mounting an exhibit: Silkscreen Printing, etc.)
6.1 Concept
6.2 Content / Labels 11. evaluate works of art in
6.3 Physical layout terms of artistic concepts
A10PR-If-4
and ideas using criteria
from the various art
movements
12. show the influences of
Modern Art movements on
Philippine art forms A10PR-I-f-5
K to 12 BASIC EDUCATION CURRICULUM
CONTENT PERFORMANCE
CONTENT LEARNING COMPETENCY CODE
STANDARDS STANDARDS
13. mount exhibit using
completed artworks
A10PR-I-g-6
influenced by Modern Art
movements
GRADE 10- SECOND QUARTER
TECHNOLOGY-BASED ART The learner… The learner… 1. The learner…
I. Computer/Digital Arts new technologies that create a tech-based artwork 1. identify art elements in A10EL-IIb-1
1. Cellular Phones (photos and allow new expressions (video clips and printed media the technology-based
videos) in arts using art such as posters, menus, production arts
2. Computer-generated Images elements and processes brochures etc.) relating to a 2. identify distinct
3. Digital Photography (DLSR and selected topic from the characteristics of arts
Point-and-Shoot) different learning areas using during in the 21st century
4. Video Games available technologies, e.g., in terms of:
5. Digital Painting and Imaging food and fashion A10EL-IIa-2
2.1 production
Videos – TV & Film 2.2 functionalityrange of
audience reach
CONTENT PERFORMANCE
CONTENT LEARNING COMPETENCY CODE
STANDARDS STANDARDS
and combination of art
TECHNOLOGY-BASED ART new technologies that create a tech-based artwork elements and principles
allow new expressions (video clips and printed media 6. use artworks to derive the
I. Computer/Digital Arts in arts using art such as posters, menus, traditions/history of a
1. Cellular Phones (photos and elements and processes brochures etc.) relating to a community (e.g.,
videos) selected topic from the landscapes, images of A10PL-IIh-3
2. Computer-generated Images different learning areas using people at work and play,
3. Digital Photography (DLSR and available technologies, e.g., portrait studies, etc.)
Point-and-Shoot) food and fashion
4. Video Games 7. compare the
5. Digital Painting and Imaging characteristics of artworks
A10PL-IIh-4
Videos – TV & Film in the21st century
CONTENT PERFORMANCE
CONTENT LEARNING COMPETENCY CODE
STANDARDS STANDARDS
appropriate for the style
or form
12. mount an exhibit of
completed technology- A10PR-II-g-5
based artworks
GRADE 10- THIRD QUARTER
MEDIA-BASED ARTS AND The learner… The learner… The learner...
DESIGN IN THE PHILIPPINES
1. art elements and create artworks using 1. identify art elements in A10EL-IIIb-1
I. Photography processes by available media and natural the various media-based
1. George Tapan synthesizing and resources on local topics, arts in the Philippines
2. John Chua applying prior issues, and concerns such as
knowledge and skills environmental advocacies 2. identify representative
II. Film ecotourism, and economic artists as well as distinct
1. Brillante Mendoza 2. new technologies and livelihood projects characteristics of media- A10EL-IIIa-2
2. Maryo J. de los Reyes that allow new based arts and design in
3. Laurice Guillen expressions in the the Philippines
arts 3. realize that Filipino
III. Animation ingenuity is distinct,
4. Animation Council of the exceptional, and on a par A10PL-IIIh-1
Philippines with global standards
5. Philippine Animation Studio
Inc. 4. determine the role or
function of artworks by
IV. Print Media evaluating their utilization
6. Advertisements A10PL-IIIh-2
and combination of art
7. Comic books elements and principles
CONTENT PERFORMANCE
CONTENT LEARNING COMPETENCY CODE
STANDARDS STANDARDS
10. Kenneth Cobonpue, Monique applying prior issues, and concerns such as 7. describe the
Lhuillier, Josie Natori, Lulu knowledge and skills environmental advocacies characteristics of media-
A10PR-IIIc-e-2
Tan Gan, Ditas Sandico-Ong, ecotourism, and economic based arts and design in
Rajo Laurel, Aze Ong 2. new technologies and livelihood projects the Philippines
that allow new
expressions in the 8. apply different media
VII. Principles of Art arts techniques and processes
11. Rhythm, Movement to communicate ideas,
12. Balance experiences, and stories
A10PR-IIIc-e-3
13. Emphasis (the use of software to
14. Harmony, Unity, and enhance/animate images
VarietyProportion like Flash, Movie Maker,
Dreamweaver, etc.)
VIII. Process:
15. painting 9. evaluate works of art in
16. drawing terms of artistic concepts
17. constructing and ideas using criteria
18. assembling appropriate for the style A10PR-IIIf-4
19. printing or form of media-based
20. carving arts and design
CONTENT PERFORMANCE
CONTENT LEARNING COMPETENCY CODE
STANDARDS STANDARDS
6. Atlantis Productions meaning in a theater 2. create/improvise 2. analyzes examples of
play/performance appropriate sound, music, plays based on theatrical
II. Local Performing Groups incorporated with gesture, and movements forms, and elements of art A10EL-IVa-2
III. Roles in a production media for a chosen theatrical as applied to performance
7. director composition
8. actor 2. theater and 3. illustrate how the different
9. choreographer performance as a 3. participate in an original elements are used to
A10EL-IVc-3
10. stage manager synthesis of arts performance inspired by communicate the meaning
11. light designer local Philippine stories,
12. set designer myths, and events relevant 4. define the uniqueness of
to current issues each original performance A10PL-IVh-1
IV. Elements of Art as Applied to
an Original Performance: 5. design with a group the
13. Sound & Music visual components of a
14. Gesture, Movement, and A10PR-IVe-1
school play (stage design,
Dance costume, props, etc.)
15. Costume, Mask, Makeup, and 6. assume the role of a
Accessories character as an
16. Spectacle actor/performance, or
A10PR-IVh-2
production staff (director,
V. Principles of Art choreography, light
17. Rhythm, Movement designer, stage manager)
18. Balance 7. analyze the uniqueness of
19. Emphasis the group that was given
20. Harmony, Unity, and Variety recognition for its
21. Proportion A10PR-IVh-3
performance and explain
what component
VI. Process contributed to its selection
22. Designing for stage, costume, 8. contribute to the
and props of a selected conceptualization of an
theatrical play A10PR-IVd-4
original performance
23. Choreographing movement
patterns and figures 9. choreograph the
movements and gestures
A10PR-IVf-g-5
needed in the effective
delivery of an original
K to 12 BASIC EDUCATION CURRICULUM
CONTENT PERFORMANCE
CONTENT LEARNING COMPETENCY CODE
STANDARDS STANDARDS
performance with the use
of media
10. improvise accompanying
sound and rhythm needed
in the effective delivery of A10PR-IVf-g-6
an original performance
with the use of different
media
K to 12 BASIC EDUCATION CURRICULUM
Sample: A10PR-If-4
Domain/Content/
Uppercase Letter/s Process PR
Component/ Topic
Processes PR
-
Roman Numeral
Quarter First Quarter I
*Zero if no specific quarter
Lowercase Letter/s
*Put a hyphen (-) in between
Week Week six f
letters to indicate more than a
specific week
-
Evaluate works of art in
terms of artistic concepts
Arabic Number Competency and ideas using criteria 4
from the various art
movements
Quarter I: Music of the 20th Century
Quarter I
MUSIC OF THE 20TH CENTURY
CONTENT STANDARDS
PERFORMANCE STANDARDS
The learner...
1. Creates musical pieces using a particular style of the 20th century.
LEARNING COMPETENCIES
The learner...
1. Listens perceptively to selected 20th century music.
2. Describes distinctive musical elements of given pieces in 20th
century styles.
3. Relates 20th century music to its historical and cultural
background.
4. Explains the performance practice (setting, composition, role of
composers/performers, and audience) of 20th century music.
5. Sings melodic fragments of given Impressionism period pieces.
6. Explores other arts and media that portray 20th century elements
through video films or live performances.
7. Creates short electronic and chance music pieces using knowledge
of 20th century styles.
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
QUARTER I
MUSIC OF THE 20TH CENTURY
Sessions 1, 2, 3, 4, and 5
IMPRESSIONISM TO MODERN NATIONALISM
I. SUBJECT MATTER
Sub-topics: Impressionism
Expressionism
Neo-Classicism
Avant-Garde
Modern Nationalism
A. PRELIMINARY ACTIVITY
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I: Music of the 20th Century
2. Motivation
B. DEVELOPMENTAL ACTIVITY
3. Let them compare the paintings with their counterpart in music, in terms
of the elements and characteristics of each.
C. INTEGRATION
1. Integration of Music with Arts, Literature, and History through the use
of paintings and music recordings.
Infusion of values: Belief in the power of the mind and its ability to achieve
one’s goals and control situations.
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
D. GENERALIZATION
2. Which Russian composer created the music for the ballet The Firebird?
5. Who was the target audience of Prokofieff’s Peter and the Wolf?
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I: Music of the 20th Century
1. You will play excerpts of any (one) of the following musical examples:
2. Let the students listen carefully to each excerpt and be able to recognize the
distinct musical style of each composer.
3. Let them choose a composition that they like. Let them write a short reaction
paper on it.2. Listen carefully to each excerpt and be able to recognize the
distinct musical style of each composer.
4. Based on this activity, let the students write a brief profile of the composer
of the pieces played in a bond paper to be submitted the following meeting.
V. WHAT TO UNDERSTAND
A. Name the Composer, Title of the Music, Musical Style, and Description
3. As you play a few measures of the first excerpt, let the first student in
each line goes to the board and writes the name of the composer. The
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
second student will write the title of the music. The third student will
write the musical style. Then, the fourth student will write a description
of the music in one phrase.
4. The team that writes the correct answers first, scores four (4) points.
5. The same procedure goes on until all the students in the line have had
their turn.
6. Assign one student to tally the scores and announce the winners. The
team with the highest score is the winner. In case of a tie, the first team
to finish is the winner.
7. After proclaiming the winners, the scorer will ask this question: What
was the most significant thing that you have learned from this activity?
A. Performance Activity 1:
Video Clips / Watching Live /TV Performances
Video Clips
1. Divide the class into four groups by having them count off from 1 to 4.
2. Have the students create and explore other arts (multi-media) that portray
20th century musical styles (impressionism, expressionism, jazz, avant
garde) through a 10-minute video clip or MTV using their digital cameras
or mobile phones.
1. Divide the class into groups. Assign groups who will re-enact what
they watched. Assign other groups to do the video recording.
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I: Music of the 20th Century
5. Have the groups show and discuss their video works in class.
B. Performance Activity 2:
Singing or Humming Musical Fragments
2. Let the class listen carefully to each excerpt and be able to recognize
the distinct musical style of each composer.
3. Have the students sing or hum some melodic fragments (portion only)
of any of the following excerpts of 20th century music, together with
the recordings:
a. Claude Debussy’s Claire de Lune
b. Leonard Bernstein’s West Side Story
c. George Gershwin’s Rhapsody in Blue
d. Ravel’s Bolero
e. Any work of minimalist composers, Philip Glass or Meredith Monk
f. Any work of nationalist composers, Erik Satie or Bela Bartok.
5. Have the students choose a composition that they like. Ask them to
write a brief profile about the composer, and to also give their personal
reactions about the music on a one whole sheet of bond paper.
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
2. Divide the class into four groups. Each group will choose four
representatives who will be assigned as contestants.
3. Each contestant will draw a composer’s name from the box and must
say three sentences about his compositional technique or musical style,
his major contribution to modern music, and one work that shows his
compositional style.
4. The rest of the groups will evaluate each contestant’s answer by flashing
a card or paper marked “CORRECT” or “WRONG.” Each correct
answer earns a point.
5. The group with the highest number of points wins the contest.
1. Have the students research on the 20th century musical play West Side
Story written by Leonard Bernstein.
2. Instruct them to watch any video clip of West Side Story on the internet
or YouTube.
4. Divide the class into groups. Ask them these questions: Did you like
what you watched? Why or why not?
5. Have them explain their answers on a one whole sheet of bond paper.
Let each group report their answers in class.
D. Performance Activity 4:
Singing Songs from West Side Story
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I: Music of the 20th Century
2. Let the students listen to the songs Tonight, Maria, Somewhere, and
America from video or recordings of West Side Story. Ask them to draw
lots for the song to sing.
3. Have them sing and perform their song in class, with or without
accompaniment. They may also sing with the recordings.
4. Let those students who are not performing act as judges for the
performance evaluation.
5. Judges will have five placards, score cards, or paper sheets marked:
BEST, BETTER, GOOD, FAIR, NEEDS FOLLOW UP.
7. One student may be assigned to tabulate the scores after the performance.
E. Performance Activity 5:
Live Concert or Recording or Music Video
Let the students choose the activity that they are interested in.
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
c. Have them play the recorded performance or show the music video
to their classmates. The groups in the video or recording will choose
the “Best Performers.”
d. You will also rate the students’ performance based on the criteria
below.
e. Choose the “Best Video Presentation” based on creativity (50%)
and presentation (50%).
1. Musicianship (60%)
a. compositional concepts presented ____________
b. musical elements ____________
c. technique ____________
10
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I: Music of the 20th Century
VII. EVALUATION
1. What are the styles of 20th century classical music studied in this lesson?
2. Explain briefly how these styles have counterparts in the visual arts,
particularly in painting.
B. Encourage the students to search for the following video on YouTube and
to view it for additional inights on 20th century music:
They may also search for Bernstein’s other video lectures on music.
11
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
QUARTER I
MUSIC OF THE 20TH CENTURY
Sessions 6, 7, and 8
20TH CENTURY MUSICAL STYLES:
ELECTRONIC AND CHANCE MUSIC
I. SUBJECT MATTER
A. PRELIMINARY ACTIVITY
1. Review: Let the students go over the concepts they have learned about
Impressionism, Expressionism, Modern Nationalism, Neo-Classicism
and Avant-Garde Music.
2. Motivation:
a. Hold a “Chance Music Experience.” Ask one student to simulate a
performance concert sitting in front of the piano, keyboard, singing
with a microphone, just holding a guitar, or holding any other musical
instrument for 3 minutes without playing these.
12
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I: Music of the 20th Century
B. DEVELOPMENTAL ACTIVITY
C. INTEGRATION
D. GENERALIZATION
13
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
1. Who was the French composer known as the “Father of Electronic Music?
Varese ___________________________
Stockhausen ___________________________
Cage ___________________________
2. Have the students listen carefully to each excerpt and be able to recognize
the distinct musical style of each composer.
3. Let them choose a composition that they like, and then write a short reaction
paper on the composition and the profile of the composer.
14
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I: Music of the 20th Century
4. Have them submit this on one whole sheet of bond paper during the next
meeting. At random, choose students to read their reactions in class.
V. WHAT TO UNDERSTAND
Name the Composer, Title of the Music, Musical Style, and Description
2. Divide the class into four teams, with each team forming a line.
3. As you play a few measures of the first excerpt, have the first student in
each line goes to the board and writes the name of the composer. The second
student will write the title of the music. The third student will write the
musical style. Then, the fourth student will write a description of the music
in one phrase.
4. The team that writes the correct answers first, scores four (4) points.
5. The same procedure goes on until all the students in the line have had their
turn.
6. Assign one student to be the scorer. The team with the highest score is
the winner. In case of a tie, the first team to finish is the winner.
7. The scorer will announce the winners and then ask them this question:
What was the most significant thing that you have learned from this activity?
A. Activity 1:
Experimentation with the Sounds of 20th Century Music Systems
1. Chance Music – Put small items inside a bag. Include coins, pens, pins,
small bells, and other articles with percussive sounds. Pour the bag’s
contents on a hard surface. Then, using a cellphone or other available
device, record the sounds that are produced.
15
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
Put the items back in the bag. Then unload the same, while once again
recording the sounds being produced. Note the changes between the
two sets of sounds recorded.
B. Performance Activity 2:
Original Chance and Electronic Music
Rate scores are based on the elements of music such as rhythm, melodic
appeal, harmony and texture, tempo and dynamics, timbre, and overall
musical structure
3. Those who are not performing will act as judges for the performance
evaluation.
4. Judges will have five placards, score cards, or paper sheets marked:
BEST, BETTER, GOOD, FAIR, NEEDS FOLLOW UP. They will
display these score card after evaluating each performance.
5. One student may be assigned to tabulate the scores after the performance.
7. Have the students answer this question: What was the role of the
audience in the performance of Chance Music? Explain your answers.
Video Clips
1. Divide the class into four groups by counting off from 1 to 4.
16
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I: Music of the 20th Century
2. Let each group create and explore other arts (multi- media) that portray
20th century musical styles (Chance and Electronic Music) through a
10-minute video or MTV using their digital cameras or mobile phones.
3. They may use the internet as reference for their video clips.
4. Choose the “Best Video Award” using the criteria: Creativity (50%)
and Presentation (50%).
2. Divide the class into four groups. Let each group choose four representatives
who will be assigned as contestants.
3. Let each contestant draw out a composer’s name from the box and say
three sentences about his compositional technique or musical style, his major
contribution to modern music, and one work that shows his compositional
style.
4. Let the rest of the groups evaluate each contestant’s answer by flashing a
card or paper marked “CORRECT” or “WRONG.” Each correct answer
earns a point.
5. The group with the highest number of points wins the contest.
17
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
1. Musicianship (60%)
a. compositional concepts presented ____________
b. musical elements ____________
c. technique ____________
Have the students view this video which is available on the BBC and YouTube
websites:
BBC’s The Story of Music: Age of Rebellion and The Popular Age
by Howard Goodall
18
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter II: Afro-Latin American and Popular Music
Quarter II
AFRO-LATIN AMERICAN
AND POPULAR MUSIC
CONTENT STANDARDS
PERFORMANCE STANDARDS
The learner...
1. Performs vocal and dance forms of Afro-Latin American music and
selections of Popular music.
LEARNING COMPETENCIES
The learner...
1. Observes dance styles, instruments, and rhythms of Afro Latin
American and popular music through video, movies and live
performances.
2. Describes the historical and cultural background of Afro-Latin
American and popular music.
3. Listens perceptively to Afro-Latin American and popular music.
4. Dances to different selected styles of Afro-Latin American and popular
music.
5. Analyzes musical characteristics of Afro-Latin American and popular
music.
6. Sings selections of Afro-Latin American and popular music in
appropriate pitch, rhythm, style, and expression.
7. Explores ways of creating sounds on a variety of sources suitable to
chosen vocal and instrumental selections.
8. Improvises simple vocal/instrumental accompaniments to selected
songs.
9. Choreographs a chosen dance music.
10. Evaluates music and music performances using knowledge of musical
elements and style.
19
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
QUARTER II
AFRO-LATIN AMERICAN AND POPULAR MUSIC
Sessions 1, 2, 3, 4, and 5
AFRICAN MUSIC AND LATIN AMERICAN MUSIC
I. SUBJECT MATTER
A. PRELIMINARY ACTIVITY
2. Motivation
a. Show video/film clips or any recording from YouTube of excerpts
of African and Latin American Music.
20
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter II: Afro-Latin American and Popular Music
Example: Lion King for African Music; Rio for Latin American Music
b. Play selected recordings of African and Latin American music.
Examples: folk songs, instrumental music.
c. Let the students listen to the music or watch the vido clips. On a
piece of pad paper, let them describe the music that they listened to
or watched in their own words. (5 minutes).
d. Call some volunteer students to read their descriptions or
observations. Connect these to the new lesson.
B. DEVELOPMENTAL ACTIVITY
3. Group Discussion: Let the students compare their insights with their
classmates in terms of the elements and characteristics of each.
C. INTEGRATION
Integration of Music with Arts, Literature, and History through the use of
music recordings and video clips.
Infusion of values: Belief in the power of the mind and its ability to achieve
one’s goals and creativity.
D. GENERALIZATION
Music has always been an important part in the daily life of the African,
whether for work, religion, ceremonies, or even communication. Singing,
dancing, hand clapping and the beating of drums are essential to many African
ceremonies, including those for birth, death, initiation, marriage, and funerals.
Music and dance are also important to religious expression and political
events in Africa.
21
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
4. Describe how African musical instruments are sourced from the environment.
Give examples.
5. What are the different vocal and dance forms of Latin American music?
6. What are the characteristics of each vocal and dance form of Latin American
music?
Class Activity
22
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter II: Afro-Latin American and Popular Music
V. WHAT TO UNDERSTAND
1. Ask the students to make improvised African and Latin American musical
instruments using dried vegetables, animal hide, wood, strips of roofing
metal, tin cans, bamboo, and other materials from the environment.
3. Have them answer: “How did you relate in making improvised African and
Latin American musical instruments found in the environment?”
2. Let them answer: “How does it feel to conceptualize the dance movements
in each music category?”
Group Activities
a. Divide the class into four groups. Ask each group to draw lots to sing a
song from one of the following musical genres:
b. Let the students decide among their group members which of them will
sing, plan the choreography or movements to accompany the song, play
23
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
c. Ask the students learn their assigned song, using the lyrics on the
following pages.
d. Have them practice it, with the choreography and accompaniment. Then,
let them perform in class.
2. Dance Interaction
a. As they performs in class, have the performers invite the other class
members to join them in the dance movements or choreography that
they have prepared. They can do a “flash mob” style of dancing.
a. During the class performance, let the assigned group member(s) to record
their group’s performance using a mobile phone, tablet, or video camera.
b. Have them simulate a “Music Video Award” event by joining the other
groups in presenting their respective videos in class.
c. Ask the class members choose the “Best Song Performance” based on
how well the group presented their assigned music genre.
KUM BAY YA
24
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter II: Afro-Latin American and Popular Music
KUMBAYA
25
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
WAKA WAKA
26
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter II: Afro-Latin American and Popular Music
Rating scale:
5 = Very Good 2 = Poor
4 = Good 1 = Needs Follow-up
3 = Fair
27
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
VII. EVALUATION
Have the students choose a new favorite musical genre. On a one fourth (1/4)
sheet of pad paper, have them describe the character and classification of African
and Latin American music and tell which is their favorite, and why.
1. Mini Concert: Divide the class into two groups. Assign African music to
one group, and Latin American music to the other group. Have them prepare
for a mini concert of their assigned genre in the next meeting.
2. Research Work: Ask them to research or read on jazz, popular music, and
OPM and write their personal impression about each genre. Let them submit
it next meeting.
3. Video Analysis: Ask the students to watch the animated movies Lion King
by Disney and Rio by Blue Sky Studios on the internet. Have them write a
reaction paper regarding the musical forms and styles incorporated in these
movies.
28
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter II: Afro-Latin American and Popular Music
QUARTER II
AFRO-LATIN AMERICAN AND POPULAR MUSIC
Sessions 6, 7, and 8
JAZZ, POPULAR MUSIC, AND
ORIGINAL PILIPINO MUSIC
I. SUBJECT MATTER
A. Topic: Jazz
Popular Music
Original Pilipino Music (OPM)
A. PRELIMINARY ACTIVITY
1. Review:
a. Define and describe Afrian and Latin American music.
b. Give examples of musical instruments of Africa and Latin America.
2. Motivation:
a. Show video/film clips/MTVs or any recording from YouTube of
Frank Sinatra, Nat King Cole, The Beatles, Michael Jackson, One
Direction, The Vamps, Ed Sheeran, Taylor Swift, K pop, J pop,
Freddie Aguilar, Francis Magalona, and Eraserheads.
29
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
Or present in class video clips from the animated movie The Princess
and The Frog and let the students listen to the background music
which is jazz.
B. DEVELOPMENTAL ACTIVITY
4. Let the students identify aurally the different genres of today’s music.
C. INTEGRATION
1. The lesson on Musical Genres of the 20th Century, dealing with folk and
alternative music, as well as the modern idioms of jazz, popular music,
and rock, may be integrated with Social Studies in reference to today’s
society, culture, and technology.
D. GENERALIZATION
30
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter II: Afro-Latin American and Popular Music
and technology. Other than the genres that evolved from the traditionally
classical styles, the new musical forms that developed included Country
and Western, Jazz, Rock and Roll, Rock, and Alternative Music.
1. How did the different forms of popular music reflect life in the 20th century?
3. What role did media like radio, television, and recordings play in the
development of these different musical genres?
1. Play one recording of each of the following: Jazz, Popular Music (standards,
rock and roll, disco), and OPM (ballad, Pinoy rock, Pinoy rap). Instruct the
class to listen carefully to each recording.
V. WHAT TO UNDERSTAND
2. After this activity, ask the students: “How does it feel to conceptualize the
dance movements in each music category?”
31
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
Group Activities
b. Each group will be asked to draw lots to sing a song from one of the
following musical genres:
c. Have the students decide among their group members who will do the
following:
- sing
- plan the choreography or movements to accompany the song
- play a musical instrument
- record the group’s performance on video.
d. They will then learn their assigned song, using the lyrics provided or
researched on the internet. Let them practice it, with the choreography
and accompaniment.
2. Dance Interaction
a. As they perform in class, ask the performers to invite the other class
members to join them in the dance movements or choreography that
they have prepared. They can do a “flash mob” style of dancing.
32
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter II: Afro-Latin American and Popular Music
c. Ask the class members to choose the “Best Song Performance” based
on how well the group presented their assigned music genre.
33
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
Rating scale:
5 = Very Good 2 = Poor
4 = Good 1 = Needs Follow-up
3 = Fair
34
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter II: Afro-Latin American and Popular Music
VII. EVALUATION
Make the students choose a new favorite musical genre. On a one fourth (1/4)
sheet of pad paper, have them describe the character and classification of this
genre and tell why it is their favorite.
A. Research Work
1. Divide the class into three groups. Assign one musical genre to each
group: jazz, popular music, and OPM.
2. Have the students research further on their assigned genre and the well-
known musicians who composed/performed in this style.
3. Ask the students to briefly describe the life and works of their favorite
artists in this genre.
4. Let them submit their resarch work in the next meeting. Ask 5 students
to read their work in class.
B. Video Analysis
1. Ask the students to watch the Disney animated movie The Princess and
The Frog on the internet.
2. Have them write a reaction paper regarding the musical forms and styles
incorporated in the movie.
35
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
Quarter III
CONTEMPORARY PHILIPPINE MUSIC
CONTENT STANDARDS
PERFORMANCE STANDARDS
The learner...
LEARNING COMPETENCIES
The learner...
36
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Contemporary Philippine Music
Quarter III
CONTEMPORARY PHILIPPINE MUSIC
I. SUBJECT MATTER
37
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
A. PRELIMINARY ACTIVITY
B. DEVELOPMENTAL ACTIVITY
1. Let the students listen to and watch presentations of the lives, musical
achievements, and works of Francisco Buencamino Sr., Francisco
Santiago, Nicanor Abelardo, Antonio Molina, Hilarion Rubio, Col.
Antonino Buenaventura, Rodolfo Cornejo, Felipe Padilla de Leon
Sr., Lucio San Pedro, Rosendo Santos Jr., Alfredo Buenaventura,
and Ryan Cayabyab.
C. INTEGRATION
38
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Contemporary Philippine Music
D. GENERALIZATION
1. Discuss the lives and musical contributions of the following 20th century
Filipino composers:
a. Francisco Buencamino Sr. g. Rodolfo Cornejo
b. Francisco Santiago h. Felipe Padilla de Leon Sr.
c. Nicanor Abelardo i. Lucio San Pedro
d. Antonio Molina j. Rosendo Santos Jr.
e. Hilarion Rubio k. Alfredo Buenaventura
f. Col. Antonino Buenaventura l. Ryan Cayabyab
39
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
A. Listening Activity
40
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Contemporary Philippine Music
2. Let the students listen carefully to each excerpt and recognize the
different musical styles of the composers.
3. Have them analyze the music by taking note of the elements of music
present: rhythm, melody, tempo, dynamics, texture, harmony, form, and
timbre.
4. Let them choose a composition that they like, and then write a short
reaction paper on it in relation to the musical elements.
2. Divide the class into four teams, with each team forming a line.
41
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
3. As you play a few measures of the first musical excerpt, the first student
in each line goes to the board and writes the name of the composer. The
second student will write the title of the music. The third student will
write the musical style. Then, the fourth student will write a description
of the music in one phrase.
4. The team that writes the correct answers first, scores four (4) points.
5. The same procedure goes on until all the students in the line have had
their turn.
6. Assign one student as the scorer. The team with the highest score is the
winner. In case of a tie, the first team to finish is the winner.
7. The scorer will announce the winners and then ask them this question:
What was the most significant thing that you have learned from this
activity?
V. WHAT TO UNDERSTAND
Activity for Solo, Duet, Trio, Quartet, Quintet
1. Have the students compose a simple song, for which they will create both
the lyrics and the music.
2. They may adapt a certain melody from the compositions of the song
composers that they like, and then write new lyrics to fit the music.
3. They may also include an accompaniment using a guitar, flute, recorder,
keyboard, drums, tambourine, maracas, or even improvised musical
instruments from the environment.
4. Have the students sing their original songs or adaptations in class, either a
capella (without accompaniment) or with accompaniment.
5. Ask them this question: What motivated you to compose or adapt the music
of that particular song?
A. Singing Activity
42
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Contemporary Philippine Music
If individual activity, let the students choose one composition that they will
perform. If group activity, let them do the following procedure:
2. Let the students choose any traditional composer, and research further
on his compositions, if needed.
3. After researching, have them select one composition that they like best
or they are familiar with. Or they may opt to learn a new song.
5. To learn and practice their chosen song, the students may bring to class
“minus one” music on a CD, mobile phone, or USB.
8. Let them sing the song in class with their groupmates interpreting the
music with appropriate pitch, rhythm, style, timbre, dynamics, melody,
texture, harmony, and expression.
9. After all the performances, choose the “Best Singing Group” based on:
- musicianship (musical elements) 60%
- presentation impact and showmanship 20%
- ensemble coordination and organization 20%
10. Have all the students evaluate by rating each other’s performance and
their own performance.
43
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
1. Divide the class into four groups. Each group will choose a traditional
composer who was discussed in class, and research further on his life
and works.
3. For the creation of the musical, have the students improvise simple
vocal or instrumental accompaniments (example: guitar, keyboard,
percussion) for the songs that they have chosen.
44
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Contemporary Philippine Music
Rating myself:
1. How well did I express the message of the musical? __________
2. How well did I perform with my group? __________
3. How well did I coordinate with the other members
during the performance in the ensemble? __________
4. How well did I cooperate in the ensemble? __________
45
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
Quarter III
CONTEMPORARY PHILIPPINE MUSIC
Sessions 4 and 5
NEW MUSIC COMPOSERS
I. SUBJECT MATTER
A. PRELIMINARY ACTIVITY
46
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Contemporary Philippine Music
2. Motivation:
Choose recordings from past lessons to serve as a bridge to the new
lesson. Display the chart of composers begun in the last lesson. As the
class listens to selected excerpts of the recordings, display on the board
pictures of each of the composers.
B. DEVELOPMENTAL ACTIVITY
1. Have the students watch and listen to presentations of the lives, musical
achievements, and works of Jose Maceda, Lucrecia Kasilag, Ramon
Santos, Fr. Manuel Maramba, OSB, Jerry Dadap, Francisco Feliciano,
Josefino “Chino” Toledo, and Jonas Baes.
C. INTEGRATION
D. GENERALIZATION
47
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
2. Discuss the lives and works of the following 20th century Filipino composers
and performers:
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
A. Listening Activity
48
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Contemporary Philippine Music
49
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
3. Have them analyze the music focusing on the elements of music present,
such as rhythm, melody, tempo and dynamics, texture and harmony,
form, and timbre.
4. Let them choose a composition that they like and write a reaction paper
on it.
2. Divide the class into four teams, with each team forming a line.
3. As you play a few measures of the first excerpt, the first student in each
line goes to the board and writes the name of the composer. The second
student will write the title of the music. The third student will write the
musical style. Then, the fourth student will write a description of the
music in one phrase.
4. The team that writes the correct answers first, scores four (4) points.
5. The same procedure goes on until all the students in the line have had
their turn.
6. One student will be assigned as the scorer. The team with the highest
score is the winner. In case of a tie, the first team to finish is the winner.
7. The scorer will announce the winners and then ask them this question:
What was the most significant thing that you have learned from this
activity?
V. WHAT TO UNDERSTAND
Activity for Solo, Duet, Trio, Quartet, Quintet
1. Divide the class into groups. Let them perform in solo, duet, trio, quartet,
and quintet.
50
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Contemporary Philippine Music
3. Have them write new lyrics to fit the music, and include an accompaniment
using guitar, flute, recorder, keyboard, percussion, or improvised musical
instruments.
5. All the groups will then perform their composition or song adaptation in
class, either a capella (without accompaniment) or with accompaniment.
6. Have the students answer the following: “How did you feel in incorporating
our indigenous music in your composition or song adaptation?” Have them
submit this paper in class next meeting.
1. Divide the class into four groups. Each group will choose a traditional
composer who was discussed in class, and research further on his life and
works.
4. For the creation of the musical, ask them to explore ways of creating sounds
as accompaniment on a variety of sources or from the environment.
51
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
Rating myself:
52
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Contemporary Philippine Music
Quarter III
CONTEMPORARY PHILIPPINE MUSIC
Sessions 6, 7, and 8
SONG COMPOSERS
I. SUBJECT MATTER
A. PRELIMINARY ACTIVITY
53
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
2. Motivation:
As the class listens to the recordings, display on the board pictures of
each of the composers. Choose recordings from past lessons to serve as
a bridge to the new lesson. Display the chart of composers in the last
lesson.
B. DEVELOPMENTAL ACTIVITY
1. Let the students watch and listen to presentations of the lives, musical
achievements, and works of Levi Celerio, Constancio de Guzman, Mike
Velarde Jr., Ernani Cuenco, Restie Umali, George Canseco, Angel Peña,
Leopoldo Silos, Santiago Suarez
3. Let the students express their personal reactions or feelings about these
composers’ works through group discussion and analysis. Then, have
them report the outcome of the group discussion in class.
C. INTEGRATION
54
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Contemporary Philippine Music
D. GENERALIZATION
1. Discuss the lives and musical contributions of the following 20th century
Filipino song composers
2. For each of the composers named above, ask the students to give the title
of any of his compositions.
55
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
A. Listening Activity
56
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Contemporary Philippine Music
2. Have the students listen carefully to any musical excerpt and be able to
recognize the different musical styles of the composers.
3. Instruct them to analyze the music that they heard by noting the elements
of music present: rhythm, melody, tempo and dynamics, texture and
harmony, form, and timbre.
4. Let them choose a composition that they like and write a brief reaction
paper.
2. Divide the class into four teams, with each team forming a line.
3. As you play a few measures of the first excerpt, the first student in each
line goes to the board and writes the name of the composer. The second
student will write the title of the music. The third student will write the
musical style. Then, the fourth student will write a description of the
music in one phrase.
4. The team that writes the correct answers first, scores four (4) points.
5. The same procedure goes on until all the students in the line have had
their turn.
6. One student will be assigned as the scorer. The team with the highest
score is the winner. In case of a tie, the first team to finish is the winner.
7. The scorer will announce the winners and then ask them this question:
57
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
“What was the most significant thing that you have learned from this
activity?”
V. WHAT TO UNDERSTAND
Activity for Solo, Duet, Trio, Quartet, Quintet
1. Let the students compose a simple song, for which they will write the lyrics
and the music.
2. They may also choose to adapt a certain melody from the compositions of
the song composers that they like, and write new lyrics to fit the music.
7. After the class performances, ask the students: “What motivated you to
compose an original song or to adapt the music of an existing song?” “How
did you feel about this activity?”
1. Let the students choose any three songs by the above composers that
they like best or that they are familiar with. Or they may opt to learn a
new song. Have them research further on the compositions, if needed.
58
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Contemporary Philippine Music
2. Each group will choose their musical director and they will create a
three- to five-minute medley of their chosen songs.
3. To learn and practice the songs, they may bring “minus one” music on a
CD, or from their mobile phones or USB.
6. All the groups will then perform their song medleys in class, interpreting
the music with appropriate pitch, rhythm, style, timbre, dynamics,
melody, texture, harmony, and expression.
1. Divide the class into four groups. Each group will choose one song
composer discussed in class, and research further on his life and works.
2. Each group will then create a contemporary musical on the life of their
chosen composer, incorporating some of his compositions (melodic
fragments) in the musical’s story.
59
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
Rating myself:
60
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter IV: 20th and 21st Century Multimedia Forms
Quarter IV
20TH AND 21ST CENTURY
MULTIMEDIA FORMS
CONTENT STANDARDS
1. Characteristic features of 20th and 21st century opera, musical play, ballet,
and other multimedia forms.
2. The relationship among music, technology, and media.
PERFORMANCE STANDARDS
The learner…
LEARNING COMPETENCIES
The learner…
1. Describes how an idea or story in a musical play is presented in a live
performance or video,
2. Explains how theatrical elements in a selected part of a musical play are
combined with music and media to achieve certain effects,
3. Sings selections from musical plays and opera expressively;
4. Creates/improvises appropriate sounds, music, gestures, movements, and
costume using media and technology for a selected part of a musical play;
5. Presents an excerpt from a 20th or 21st century Philippine musical and
highlights its similarities and differences to other Western musical plays.
61
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
Quarter IV
20TH AND 21ST CENTURY MULTI-MEDIA FORMS
Sessions 1, 2, and 3
OPERA IN THE PHILIPPINES
I. SUBJECT MATTER
Musical scores
A. PRELIMINARY ACTIVITY
2. Motivation:
As the class listens to the recordings of contemporary Philippine
composers, display on the board pictures of each of the composers.
Choose recordings from past lessons to serve as a bridge to the new
lesson. Display the chart of composers taken up in the last lesson.
62
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter IV: 20th and 21st Century Multimedia Forms
B. DEVELOPMENTAL ACTIVITY
3. After watching and listening to the opera, let the students express their
personal reactions or feelings about these works through group
discussion and analysis. Report the outcome of the group discussion in
class.
C. INTEGRATION
The lesson on 20th and 21st Century Multi -Media Forms may be integrated
with Philippine History for a better understanding of the styles and their
sources of influence.
D. GENERALIZATION
The opera is both an art form and a musical form. The singers and
musicians perform a dramatic work combining text (called libretto)
a and the
music usually in an elaborate theatrical setting. It incorporates many of the
elements of theater, such as acting, scenery, costumes, and sometimes
63
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
3. What role did media and social media play in the development of these
musical genres specifically the radio, television, video, and recordings?
You may let the class do these listening and singing activities separately or
combined together, depending on the allotment of time.
1. Divide the class into groups. Each group will be assigned to research
on the lyrics of Philippine opera .
2. Play musical excerpts from the arias of Noli Me Tangere, La Loba Negra,
and El Filibusterismo.
64
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter IV: 20th and 21st Century Multimedia Forms
3. Let the students listen to the selections carefully to appreciate the music.
4. Let them analyze the music and take note of the elements of music
present, such as rhythm, melody, tempo and dynamics, texture and
harmony, form, and timbre.
5. Let them choose a composition that they like and describe the lyrical
content and message that the piece wants to convey.
6. Let them write a reaction paper on their impression of the opera and its
message.
1. Divide the class into groups. Each group will be assigned to learn and
sing in class an aria from any of the Philippine opera discussed in class.
Suggested arias:
65
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
2. Let them practice singing the assigned aria with their group mates, using
the lyrics that they had researched.
3. Have each group sing their aria expressively in class, together with a
recording on CD or from the internet (YouTube). Time allotment for
each group is five (5) to ten (10) minutes only.
Enrichment Activities
Video Clips
1. Divide the class into four groups.
2. Together with their group mates, have the students explore how multi-
media arts can be used to portray 20th century musical styles (specifically
Philippine opera) through a five-minute video clip using their digital cameras
or mobile phones.
66
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter IV: 20th and 21st Century Multimedia Forms
V. WHAT TO UNDERSTAND
Group Activity
1. Divide the class into groups. Instruct each group to brainstorm among
themselves on Philippine opera.
2. Let them create a scene inspired by one of the Philippine operas they have
studied, using media and technology. They may incorporate elements from
local folktales, legends, history, biographies of heroes, and customs and
traditions.
3. For the music, they may compose their own aria or they may use or adapt
the melody of existing songs such as folksongs, indigenous music of their
area, or a Western aria. Then, let them write their own libretto suited to the
melody for the aria adaptation.
5. After this Performance Activity, let them answer the following: What insights
did I gain from this activity?
1. Divide the class into groups. Each group will choose an aria to perform
from any one of the following:
a) a Philippine opera (La Loba Negra, Noli Me Tangere,
El Filibusterismo)
b) the scene that they have previously created
c) an excerpt from a Western opera (Rigoletto, Tosca,
La Traviata, Aida)
67
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
3. All the groups will present the opera excerpt or scene they have prepared,
either using musical instruments as accompaniment or a capella (without
accompaniment).
6. After the performances, ask the students to discuss the differences they
have observed and experienced between Philippine opera and western
opera.
1. Divide the class into groups and let the students choose a group leader
who will assign 1 or 2 members to record the performance of their
group using a cassette recorder or they make a music video using their
mobile phone, digital camera, or video camera.
2. Let them play the recorded performance or show the music video to
their classmates.
You may also ask the students to evaluate the performance, using a rating scale:
Good, Better, Best
Rate scores are based on the group’s performance in terms of intonation, sound
quality, expression, mastery of the piece, and stage deportment.
1. Have a performance evaluation of how well each group sang any of the aria
from Philippine opera. The rest of the groups will serve as the judges.
2. Each group will have any of the following: three placards, score cards, or
paper sheets marked: GOOD, BETTER, BEST
68
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter IV: 20th and 21st Century Multimedia Forms
3. The judging groups will raise their evaluation score cards after the
performance of each group. One student will be assigned to tabulate and
tally the results.
4. After the performance of all groups, the teacher will announce the winning
group with the “Best Performance” award.
Rating yourselves:
1. How well did I perform with my group
the Philippine opera? _______________
2 How well can I identify the opera based on
instrumentation, text, and purpose? _______________
3. How well can I describe the characteristics of
opera through listening and singing to their
melody, harmony, rhythm, text, and mass appeal?_______________
69
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
1. Have the students listen to selected aria from a Philippine opera: La Loba
Negra, Noli Me Tangere, and El Filibusterismo which were discussed in
class.
2. Let them also listen to arias of other Philippine operas: Spoliarium and
Why Flowers Bloom in May by librettist Fides Cuyugan Asensio.
3. Write a brief reaction paper about it. Research further on the topic, if needed.
70
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter IV: 20th and 21st Century Multimedia Forms
Quarter IV
20TH AND 21ST CENTURY MULTIMEDIA FORMS
Sessions 4 and 5
BALLET IN THE PHILIPPINES
I. SUBJECT MATTER
Musical scores
A. PRELIMINARY ACTIVITY
2. Motivation:
71
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
B. DEVELOPMENTAL ACTIVITY
3. After watching and discussing the presentations, let the students add
these titles of Philippine ballet or Western ballet to the chart listing the
title of works, composers, visual aids, country, and style.
4. Have them express their personal reactions or feelings about these works
through group discussion and analysis. Then, report the outcome of the
group discussion in class.
C. INTEGRATION
The lesson on 20th and 21st Century Multi Media Forms may be integrated
with Philippine History , Literature, Art, and Music for a better understanding
of the styles and their sources of influence.
D. GENERALIZATION
Filipino ballets vividly present folktales based on local fables. Examples are
Lola Basyang as well as epics from neighboring regions, like India’s
Ramayana. Highly communicative movements and steps dramatize the
actions in the respective stories. The colorful sets and costumes add to the
glitter and attraction of the productions.
72
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter IV: 20th and 21st Century Multimedia Forms
1. How did the different forms of Philippine ballet reflect life in the 20th century?
3. What role did media like radio, television, and recordings play in the
development of Philippine ballet?
7. How is Philippine ballet relevant to life in the 20th and 21st century in
relation to media and technology?
2. Let the students listen carefully to the recordings and let them analyze the
music Let them take note of the elements of music present, such as rhythm,
melody, tempo and dynamics, texture and harmony, form, and timbre.
73
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
Rate scores are based on melodic appeal and suitability for the ballet’s theme and
story line.
1. How well did I listen to the musical interpretations
of Philippine or Western ballet? _____________
2. How well can I identify music from Philippine or
Western ballet? _____________
3. How well can I describe the qualities of
ballet music through listening? _____________
V. WHAT TO UNDERSTAND
2. Let each group compose a simple song or solo musical instrumentation that
will be used for simple ballet steps.
3. They may compose their own original song or they may use or adapt the
melody of existing songs (Ex: folksongs, indigenous music of your area,
pop, classical, ballet music, Broadway, and OPM).
4. Then, let them write their own lyrics suited to the melody for the song
adaptation
74
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter IV: 20th and 21st Century Multimedia Forms
7. They will then perform their music composition with simple ballet steps,
movements, or choreography.
8. After this activity, let them answer the following question: “What insights
did I gain from this activity?”
1. Divide the class into groups. Have each group choose to perform simple
steps and choreography from any Philippine ballet, from the ballet that
they have previously created, or an excerpt from any Western ballet.
3. Let them perform the short ballet in class, using musical instruments as
accompaniment for their music works for the ballet.
1. Divide the class into groups and let the students choose a group leader
who will assign 1 or 2 members to record the performance of their
group using a cassette recorder. Or they make a music video using their
mobile phone, digital camera, or video camera.
2. Have all the groups play the recorded performance or show the music
video to their classmates.
75
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
1. Let the students watch video clips of the following ballets on the internet or
You Tube.
a. Swan Lake
b. The Nutcracker Suite
c. Giselle
VII. GENERALIZATION
The Filipino Ballets vividly present folktales based on local fables. Example are
Lola Basyang as well as epics from neighboring Asian regions, such as India’s
Ramayana. Highly communicative movements and steps dramatize the actions
in the respective stories. The colorful sets and costumes add to the luster and
attraction of the productions.
Although not as extensively explored as the other performing genres for local
adaptation, the Filipino Ballet has evoked wide enthusiasm for people of all ages.
It has also added to the repertory of dance companies to supplement the Western
classical ballets.
76
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter IV: 20th and 21st Century Multimedia Forms
VIII. EVALUATION
1. Have the students listen further to some music from Philippine and western
ballets, and identify their titles.
2. Let them play a game of “drawing lots” with the titles of various ballets
written on strips of paper. Ask them to say at least two things learned about
the Philippine or western ballet whose title they have drawn.
3. Let them research further on a Philippine or western ballet that they find
interesting.
77
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
Quarter IV
20TH AND 21ST CENTURY MULTIMEDIA FORMS
I. SUBJECT MATTER
Musical scores
A. PRELIMINARY ACTIVITY
78
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter IV: 20th and 21st Century Multimedia Forms
2. Motivation:
As the class listens to the recordings of Philippine musicals and Broadway
musicals, display on the board pictures of each of the performances.
B. DEVELOPMENTAL ACTIVITY
C. INTEGRATION
The lesson on 20th and 21st Century Multi Media Forms may be integrated
with Philippine History, Music, and Arts for a better understanding of the
creative styles and their sources of influence.
79
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
D. GENERALIZATION
1. How did the different forms of Philippine music reflect life in the 20th
century?
3. What role did media like radio, television, and recordings play in the
development of these different musical genres?
1. Divide the class into groups. Each group will be assigned to research lyrics
of three musical excerpts of any Broadway musical and Philippine musical
play.
80
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter IV: 20th and 21st Century Multimedia Forms
4. Have them sing the selections expressively together with the recordings or
from the internet (YouTube), using the lyrics that they researched. Time
allotment for each group is five (5) to ten (10) minutes only. Let them add
choreography and use musical instruments, if needed.
81
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
Rate scores are based on melodic appeal, message content, singability, and text
relevance to present day society.
A. Broadway Musicals
1. How well did I listen to any of the vocal interpretations of songs from
Philippine musicals?
a. Noli Me Tangere
Song title: _____________________________ __________
b. El Filibusterismo
Song title: _____________________________ __________
82
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter IV: 20th and 21st Century Multimedia Forms
d. Katy!
Song title: _______________ ______________ __________
f. Florante at Laura
Song title: _____________________________ __________
g. Daragang Magayon
Song title: _______________ ______________ __________
h. Magsimula Ka
Song title: _____________________________ __________
83
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
Group Activity
2. Within each group, let the students brainstorm among themselves one work
from a Philippine musical play.
3. Let them create a short musical play using media and technology. They may
use local folktales, legends, history, biographies of heroes, and customs
and traditions as themes of their musical work.
4. For the music, they may compose their own songs or they may use or adapt
the melodies of existing songs such as folksongs, indigenous music of your
area, pop, classical, Broadway, and OPM. Then, let them write their own
lyrics suited to the melody for the song adaptation for their musical play.
6. After this activity, let them answer this question on a 1/2 sheet of bond
paper: “What insights did I gain from this activity?”
84
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter IV: 20th and 21st Century Multimedia Forms
3. Let them highlight the similarities and differences between these two
forms of musicals.
5. They may use props and costumes, if needed. Let them create or
improvise appropriate sounds, music, gestures, movements, and costume
using media and technology for a selected part of the musical play and
broadway musical.
6. Let them perform the short musical play in class. They may add some
choreography or movements and improvised props and costumes, if
needed.
1. Divide the class into groups and let the students choose a group leader
who will assign 1 or 2 members to record the performance of their
group. They may use a cassette recorder or they make a music video
using their mobile phone, digital camera, or video camera.
85
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
Rating myself:
VI. GENERALIZATION
In the Philippines, the musical play is a more recent development than Broadway
and West End, relying mostly on adaptations from previous novels, literary works,
or biographical sketches of famous artists.
86
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter IV: 20th and 21st Century Multimedia Forms
VII. EVALUATION
1. Let the students listen to some songs from the Philippine musicals and
Broadway musicals discussed in class and let them identify their titles.
2. Let them play a game of “drawing lots” with the title on each lot. Let them
say at least two things learned about the Philippine and Broadway musicals
on which the title is drawn.
1. Songs from Philippine musicals - Let the students listen to some songs
from the following Philippine musicals:
Song of Joseph
Mayo Bisperas ng Liwanang (May Day Eve)
The Legend of M
Larawan ng Kababaihan: Maskara at Mukha
Hades Ladies by Fides Cuyugan-Asensio
2. Film Viewing - Let the students watch any Philippine musicals and
Broadway musicals in VCD/DVD format, o they may watch excerpts or
video clips on the internet or YouTube.
87
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Teacher’s Guide
88
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS
Grade 10
Teacher’s Guide
89
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
CONTENT STANDARDS
PERFORMANCE STANDARDS
The learner…
1. performs/participates competently in a presentation of a creative impression
(verbal/nonverbal) from the various art movements.
2. recognizes the difference and uniqueness of the art styles of the various art
movements (techniques, processes, elements, and principles of art).
LEARNING COMPETENCIES
The learner…
1. analyzes art elements and principles in the production of work following a
specific art style from the various art movements.
2. identifies distinct characteristics of arts from the various art movements.
3. identifies representative artists and Filipino counterparts from the various art
movements.
4. derives the mood, idea, or message from selected artworks.
5. determines the role or function of artwork by evaluating their utilization and
combination of art elements and principles.
6. uses artworks to derive the traditions/history of the various art movements.
7. compares the characteristics of artworks produced in the various art movements.
8. creates artworks guided by techniques and styles of the various art movements.
9. describes the influence of iconic artists belonging to the various art movements.
10. applies different media techniques and processes to communicate ideas,
experiences, and stories showing the characteristics of the various art movements.
11. evaluates works of art in terms of artistic concepts and ideas using criteria from
the various art movements.
12. shows the influences of modern art movements on Philippine art forms.
13. mounts an exhibit using completed artworks influence by Modern Art
movements.
90
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I: Modern Art
Quarter I – Session 1
MODERN ART: IMPRESSIONISM
I. SUBJECT MATTER
II. PRE-ASSESSMENT
Conduct the following survey to assess what the students know or have
experienced concerning modern art and impressionism:
1. What comes to mind when you hear the term “modern art”?
2. Give some qualities or characteristics that make you consider an artwork
“modern.”
3. How is modern art different from earlier styles of art that you know?
4. Have you heard of the art movement known as impressionism?
5. If yes, can you name one famous impressionist artist that you know of?
6. Can you name or recognize one well-known artwork in the impressionist
style?
General instructions:
1. Explain to the students that the culminating activity for Quarter I will be an
Exhibit of Modern Art.
2. Brief them that the various artworks that they will create in all the sessions
of Quarter I will be labelled for proper curating and will be turned over to
you for safekeeping, to be retrieved for mounting in the final exhibit.
3. Explain that, due to time constraints with just eight class sessions for Art in
one quarter, they must be prepared to complete the artworks and/or do
other required tasks for the exhibit outside of class hours.
91
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
IV. ACTIVITIES
1. Ask the students to explain what they understand by the term “first
impression.” Have them describe the qualities of an impression. Note
down their different ideas on the chalkboard. Then briefly summarize
these to arrive at a definition of an impression (e.g., a quick glance, an
unclear or incomplete image of something, a partial sense of what
something is, etc.).
2. Explain that this particular session will present the pre-modern art
movement that came to be called impressionism. And they will learn
the reason why.
4. Have the class turn to page 190 of the Arts Grade 10 Learner’s
Materials, and ask them to read silently the definition and general
characteristics of impressionism.
6. Ask them to explain if the sample reproduction you had presented fits
these general characteristics of an impressionist artwork or not. Have
them cite details. (For example, ask them if the painting’s style
appears realistic to them or not; what the subject is, if the forms are
distinct; what the colors are like, etc.).
7. Have the class turn to pages 194 to 200 of the Arts Grade 10 Learner’s
Materials, to see and appreciate the sample works of the great
impressionist masters Edouard Manet, Claude Monet, Auguste Renoir,
Paul Cezanne, and Vincent Van Gogh. Call on a few volunteers to
express their reactions to these works.
92
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I: Modern Art
B. WHAT TO KNOW
On the works of the impressionist masters - Have the class answer the
What to Know questions on page 200 of the Arts Grade 10 Learner’s
Materials:
C. WHAT TO PROCESS
The new color technique - Have the class do the “What to Process”
activity on page 193 of the Arts Grade 10 Learner’s Materials.
93
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
4. Hold the paper some distance away and ask your classmates to
comment on the “impression” of the secondary color you have created
and the actual color itself.
Impasto - Have the class do the “What to Process” activity on pages 200 -
201 of the Arts Grade 10 Learner’s Materials.
Procedure:
1. Decide on a simple design for your artwork. Keep in mind what colors of
paints are available to you.
2. Using a pencil, sketch in the general design on the illustration board or
chipboard.
3. Apply the paints to your design with the brush, then more thickly with
the popsicle sticks and, in certain spots, squeeze the paint directly from
the tube.
4. Allow the paint to dry thoroughly before handling or displaying the
finished artwork.
D. WHAT TO UNDERSTAND
Have the class answer the What to Understand questions on pages 201 -
202 of the Arts Grade 10 Learner’s Materials:
1. Was the name “impressionism” fitting for this art movement? Why do
you say so?
2. From your knowledge of world history during the late 19th century, do
you note a relation between the impressionist styles and the major events
of that period?
3. Do you agree that impressionism set the stage for the succeeding
movements of modern art? If so, in what ways?
4. Do you see this style reflected even in the works of today’s artists?
Explain briefly.
5. Do you know of any Filipino artists who also used or use the
94
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I: Modern Art
impressionist style? If yes, explain how they applied this style in their
works. If not, you may want to research on this on the internet to
discover something new.
2. Now review the following principles of art which you have also
studied before. Briefly describe each one.
a. Rhythm / Movement
b. Balance
c. Emphasis
d. Harmony / Unity / Variety
e. Proportion
95
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
E. WHAT TO PERFORM
Guide the students in preparing their artworks for the culminating exhibit at
the end of the quarter.
1. All the finished artworks should be labelled with original titles, the
student’s name or the group members’ names, the date, and the technique
used.
2. Store the finished artworks for inclusion in the exhibit at the end of the
quarter.
V. GENERALIZATION
Impressionism was an art movement that planted the seeds for what we now
know as modern art. The movement began in Europe in the mid-1800s and
introduced exciting new approaches and techniques for applying the elements of
art (particularly color and texture) in ways that gave impressionist paintings a
sense of energy, freshness, and intensity.
Impressionism was more concerned with capturing a sense or feel of the subject
(in other words, an “impression”), rather than a realistic rendering. Thus, this
movement shifted away from posed scenes created inside studios to everyday,
sometimes mundane, subjects painted outdoors in natural light.
96
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I: Modern Art
Among the most famous impressionist artists were Edouard Manet, Claude
Monet, Auguste Renoir, and Paul Cezanne from France; and Vincent Van
Gogh from The Netherlands.
Use the following quiz items to assess the students’ grasp of the topics
discussed:
1. How did the term impressionism originate?
2. What did it mean?
3. Why is Delacroix’s painting, The Barque of Dante, considered so significant
in the emergence of the impressionist style?
4. Cite and briefly describe at least three qualities that distinguished
impressionism from the art movements of the earlier centuries.
5. Who were some of the key figures in this movement?
6. Name one impressionist painter and one post-impressionist painter.
7. Name at least 3 impressionist artworks.
I. SUBJECT MATTER
97
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
II. PRE-ASSESSMENT
Conduct the following survey to assess what the students know or have
experienced concerning expressionism:
2. Have the class turn to page 203 of the Arts Grade 10 Learner’s
Materials, and ask them to read silently the definition and general
characteristics of expressionism. Call on some students to give the
definition and characteristics in their own words.
3. Review briefly with the class the elements of art that they have studied
in the earlier grades:
a. line d. color
b. shape / form e. value
c. space f. texture
Call on some students to comment on how the artwork you presented
makes use of these elements to exhibit the qualities of expressionism.
4. Divide the class into five groups. Assign to each group one of the
movements under expressionism:
a. neoprimitivism d. surrealism
b. fauvism e. social realism
c. dadaism
5. Have each group read the description of their assigned art movement
(Arts Grade 10 Learner’s Materials, pages 203 - 208) and study the
sample works.
98
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I: Modern Art
7. Show the photograph of Pablo Picasso. Explain that he was one of the
most famous expressionists, whose works are known the world over.
B. WHAT TO KNOW
Have the class answer the What to Know questions on page 211 of the
Arts Grade 10 Learner’s Materials:
Have the class do the “What to Process” activities on page 212 of the Arts
Grade 10 Learner’s Materials. Divide the class into groups of 5 to 6
students each.
99
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
D. WHAT TO UNDERSTAND
Have the class answer the What to Understand questions on page 213 of
the Arts Grade 10 Learner’s Materials:
E. WHAT TO PERFORM
Guide the students in preparing their artworks for the culminating exhibit at
the end of the quarter.
1. All the finished artworks should be labelled with original titles, the
student’s name or the group members’ names, the date, and the technique
used.
2. Store the finished artworks for inclusion in the exhibit at the end of the
quarter.
IV. GENERALIZATION
100
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I: Modern Art
V. SUMMATIVE TEST
Use the following quiz items to assess the students’ grasp of the topics
discussed:
1. Give a brief definition of the modern art movement called expressionism.
2. When and where did it begin?
3. Name three expressionist artists that you learned about in this session.
4. Name the five sub-movements of expressionism.
5. Describe the distinct characteristics of each sub-movement in terms of how it
made use of the elements and principles of art.
I. SUBJECT MATTER
A. Topic: Abstractionism
cubism
futurism
mechanical style
nonobjectivism
101
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
II. PRE-ASSESSMENT
Conduct the following survey to assess what the students know or have
experienced concerning abstractionism:
1. What ideas come to mind when you hear the term “abstract art”?
2. In your opinion, what does an abstract artwork look like?
3. Do you know the name of any abstract artist—foreign or Filipino?
4. Have you heard of the artistic style known as “cubism”? If yes, why do
think it was named in this way?
5. Have you heard of Pablo Picasso? What country did he come from? What
artistic style is he most famous for?
6. Would you like to own an abstract artwork? Why or why not?
III. ACTIVITIES
5. Ask the students to count off “1-2-3-4.” Have all those who counted
“1” group together; those who counted “2” group together; and so on.
Assign each group one of the sub-movements of abstractionism:
a) cubism
b) futurism
c) mechanical style
d) nonobjectivism
102
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I: Modern Art
7. Have each group support their explanation with a sample artwork from
the Arts Grade 10 Learner’s Materials, pages 208 - 211.
B. WHAT TO KNOW
Have the class answer the What to Know questions on page 211 of the
Arts Grade 10 Learner’s Materials:
Have the class do the “What to Process” activities on pages 212 to 213 of
the Arts Grade 10 Learner’s Materials. Divide the class into Groups A, B,
C, D, E, and F with approximately 6 to 7 students each.
103
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
D. WHAT TO UNDERSTAND
Have the class answer the What to Understand questions on page 213 of
the Arts Grade 10 Learner’s Materials:
Abstractionism
1. Which form of abstractionism do you find most striking, and why?
2. Do you consider action painting, color field painting, and
pictographic painting true art? Why or why not?
3. Abstractionism in Philippine art – Research online for works by
Filipino artists who used variations of this style (e.g., Arturo Luz,
Jose Joya, and others). Give your personal reaction to these.
Cubism
4. Recall the message expressed in the painting Guernica by Picasso.
Study the details that he incorporated to convey that message.
5. Do you think his technique was effective? Why or why not?
6. How does the painting make you feel?
7. Cubism in Philippine art – Research online for works by Filipino
artists who used variations of this style (e.g., Vicente Manansala and
others). Give your personal reaction to these.
E. WHAT TO PERFORM
Guide the students in preparing their artworks for the culminating exhibit at
the end of the quarter.
104
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I: Modern Art
1. All the finished artworks should be labelled with original titles, the
student’s name or the group members’ names, the date, and the technique
used.
2. Store the finished artworks for inclusion in the exhibit at the end of the
quarter.
IV. GENERALIZATION
V. SUMMATIVE TEST
Use the following quiz items to assess the students’ grasp of the topics
discussed:
1. Give a brief definition of the modern art movement called abstractionism.
2. Who is the renowned Spanish artist who spanned both expressionist and
abstract art?
3. Name the four sub-movements of expressionism.
4. Describe the distinct characteristics of each sub-movement.
5. Who is the artist known for the mechanical style?
6. Who is the artist known for the nonobjectivist style?
Quarter I - Session 6
ABSTRACT EXPRESSIONISM, POP ART, OP ART
I. SUBJECT MATTER
105
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
II. PRE-ASSESSMENT
Conduct the following survey to assess what the students know or have
experienced concerning pop art and/or op art:
1. Have you heard of the terms “pop art” and “op art”?
2. If yes, briefly describe what you know about each of these styles.
3. If not, what do you think the names of these styles refer to?
4. Can you name any well-known artists using these styles?
5. Can you guess what types of subjects these styles depicted?
III. ACTIVITIES
1. Show the world map (if available) and ask student volunteers to point
to the countries where the modern art movements of the early 20th
century were found: France, Spain, Germany, and Italy.
2. Ask another student volunteer to locate New York City on the map.
3. Point out to the class that this traces the “migration” of the modern art
movements from Europe to North America in the mid-1900s.
106
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I: Modern Art
4. Have the students turn to pages 214 to 219 of the Arts Grade 10
Learner’s Materials, and read about abstract expressionism, pop art,
and op art.
5. Based on their reading, ask the students to describe the art movement
that came to be known as “The New York School.”
6. Present the sample melted crayon artwork (a project that is common
in elementary school Art classes). Have the students describe how
such an artwork is made.
7. Ask them to compare this with the action painting style of American
artist, Jackson Pollock, as seen in the Learner’s Materials.
8. Call on students to describe the different styles and characteristics of
the various movements that arose in American modern art:
a) action painting
b) color field painting
c) neodadaism and pop art
d) conceptual art
e) op art
9. Have them support their descriptions with the sample artworks in the
Learner’s Materials, pages 214 - 219.
B. WHAT TO KNOW
Have the class answer the What to Know questions on page 220 of the
Arts Grade 10 Learner’s Materials:
107
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
C. WHAT TO PROCESS
Have the class do the “What to Process” activities on pages 220 to 222 of
the Arts Grade 10 Learning Materials.
2. As a group, discuss the overall composition and technique that you will
use.
3. Select desired colors of paint and apply these to the board using actions
such as brushing, sprinkling, dripping, and flicking. Let the paint dry.
4. Decide on a title for your group painting and display it in the classroom.
5. Be ready to explain the “action painting” techniques that you used and
to exchange comments with the other groups about their works. In
what ways are they the same? In what ways are they different?
2. As a group, plan the overall composition and technique that you will
use. Select colors of paint similar to those used by color field artists,
and plan how these will be arranged in your artwork.
108
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I: Modern Art
repeating pattern on the entire cartolina or board. Let the paint dry.
4. Decide on a title for your group painting and display it in the classroom.
4. Decide on a title for your group artwork and display it in the classroom.
5. Be ready to explain the pop art style and techniques that you used
(e.g., inspired by Andy Warhol, Roy Lichtenstein, etc.) and to
exchange comments with the other groups about their works.
D. WHAT TO UNDERSTAND
Have the class answer the What to Understand questions on page 222 of
the Arts Grade 10 Learner’s Materials:
1. Explain the shift of the center of art from Europe to the United States
in the mid-1900s. What political, economic, or social conditions
caused this shift?
2. Was modern art readily accepted as “true art”? Why or why not?
3. How did the U.S. involvement in modern art eventually influence
Philippine art? What historical developments allowed this to happen?
4. Can you name any Filipino artists who used or are using any of these
modernist styles?
5. Do these styles appeal to you? Explain why or why not.
109
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
F. WHAT TO PERFORM
Guide the students in preparing their artworks for the culminating exhibit at
the end of the quarter.
1. All the finished artworks should be labelled with original titles, the
student’s name or the group members’ names, the date, and the technique
used.
2. Store the finished artworks for inclusion in the exhibit at the end of the
quarter.
IV. GENERALIZATION
By the mid-1900s, the center of Modern Art moved from Europe to America.
Daring American artists came up with their own synthesis of Europe’s cubism
and surrealism, known as abstract expressionism.
The U.S. modern art movement has several sub-movements, namely: the New
York School (which included action painting and color field painting),
neodadaism, pop art, conceptual art, and op art. The foremost figure in early
U.S. modern art is Jackson Pollock.
V. SUMMATIVE TEST
Use the following quiz items to assess the students’ grasp of the topics
discussed:
110
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I - Session 7
INSTALLATION AND PERFORMANCE ART
I. SUBJECT MATTER
II. PRE-ASSESSMENT
Conduct the following survey to assess what the students know or have
experienced concerning installation art and performance art:
III. ACTIVITIES
Ask the students if they have ever “walked through” an artwork. Explain
that the “installation art” they will encounter in this lesson allows just that.
Explain that the other form, called “performance art,” again makes use of
the human body, gestures, and sounds to convey its message.
Installation art
1. Show the photograph of installation art (if available) or refer to the
examples in the Learner’s Materials.
111
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
2. Ask the students to show how the elements and principles of art are
applied in these works and to identify the unique materials used, the
location, etc.
3. Have them interpret the themes or messages being expressed by
these artworks and give their personal comments and reactions.
Performance art
1. Select five students at random and secretly instruct them to plan a
one-minute, no-dialogue presentation on “Alas Singko Na: Rush
Hour!” (Example: five people waiting in a jeepney line, anxious to
get a ride.)
2. Give them only five minutes to confer, and then have them make
their presentation.
3. Afterwards, ask the rest of the class to interpret the theme of the
presentation and to give their reactions.
4. Have them comment on whether or not it would qualify as
“performance art,” as they now understand it.
5. Ask them to describe the characteristics of performance art.
6. Facilitate a discussion among the students about how these two art
forms could serve as:
a) forms of communication in the modern era
b) forms of commentary on current issues and concerns.
B. WHAT TO KNOW
Have the class answer the What to Know questions on page 227 of the
Arts Grade 10 Learner’s Materials:
Installation Art
1. What are the distinct characteristics of installation art?
2. Why is it called “installation”?
3. In general, what do installation artists express in their works? Cite 2
examples from the Learner’s Material.
4. Aside from the traditional mediums and materials, what new elements
can installation artists incorporate in their works?
5. What are some unique ways that the viewer can get to experience a
piece of installation art?
Performance Art
1. What are different names for performance art?
2. How do these point to the distinct qualities of this form of art?
3. In what decade did this art form emerge?
4. As distinct from traditional art forms, what or who serves as the
medium in performance art? Explain briefly.
112
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
5. Give examples of places where performance art takes place.
C. WHAT TO PROCESS
Have the class do the “What to Process” activities on pages 227 to 228 of
the Arts Grade 10 Learner’s Materials.
Divide the class into four groups. Groups A and B will create an
installation artwork. Groups C and D will present performance art.
D. WHAT TO UNDERSTAND
Have the class answer the What to Understand questions on page 228 of
the Arts Grade 10 Learner’s Materials:
113
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
1. Do installation art and performance art exemplify the qualities of
modern art? If yes, in what ways do they do so?
2. Do art forms like these serve a purpose in today’s world? Explain your
opinion.
3. Select two examples of installation art in the Learner’s Materials and
describe your reaction to it—whether positive or negative, or a bit of
both.
4. Do you think you would enjoy experiencing performance art? Why or
why not?
5. Compare your former views on what art is with what you now see in
installation art and performance art. Have your views changed? In
what way?
IV. GENERALIZATION
Installation art is a modern art form that generally produces works large
enough for the viewers to interact with (e.g., walk through, touch objects, feel
textures, hear sounds, see lights and motion, etc.). It can be located indoors or
outdoors, and makes unique and innovative use of everyday objects and
materials.
V. SUMMATIVE TEST
Use the following quiz items to assess the students’ grasp of the topics
discussed:
114
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter I - Session 8
CULMINATING ACTIVITY FOR QUARTER I:
“AN EXHIBIT OF MODERN ART”
This last session for the Quarter will be devoted to having the students stage “An
Exhibit of Modern Art” presenting the following categories:
1. Impressionism
2. Expressionism
3. Abstractionism, Pop art, Op art
4. Installation art
5. Performance art
The students will be assigned to select from among their own works, as well as source
photos, magazine or calendar cutouts, Internet images, etc. of at least 2 to 3
representative artworks each for the above categories.
Each artwork will be accompanied by a card briefly describing the work and the
historical and cultural context of the category it belongs to:
_______________________________________________________
_______________________________________________________
Have the students invite the school Administration, other faculty members, and their
schoolmates to visit the exhibit. They should be prepared to explain the works and
how these present the characteristics of different movements and styles of modern art.
115
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Critique of the Exhibit
As a form of self-evaluation, have the students rate the culminating exhibit using the
format below:
Completeness of exhibit
Presentation
(display, mounting, and
labelling of works)
Assignment of tasks
116
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter II: TECHNOLOGY-BASED ART
CONTENT STANDARDS
PERFORMANCE STANDARDS
The learner…
1. creates a tech-based artwork (video clips and printed media such as posters,
menus, brochures, etc.) relating to a selected topic from the different learning
areas using available technologies, e.g., food and fashion.
LEARNING COMPETENCIES
The learner…
1. identifies art elements in the technology-based production arts.
2. identifies distinct characteristics of arts during the 21st century in terms of:
- production
- functionality / range of audience reach.
3. identifies artworks produced by technology from other countries and their
adaptation by Philippine artists.
4. realizes that technology is an effective and vibrant tool for empowering a person
to express his/her ideas, goals, and advocacies, which elicits immediate action.
5. determines the role or function of artworks by evaluating their utilization and
combination of art elements and principles.
6. uses artworks to derive the traditions/history of a community (e.g., landscapes,
images of people at work and play, portrait studies, etc.).
7. compares the characteristics of artworks in the 21st century.
8. creates artworks that can be locally assembled with local materials, guided by
21st century techniques.
9. describes the influence of technology in the 21st century on the evolution of
various forms of art.
10. applies different media techniques and processes to communicate ideas,
experiences, and stories showing the characteristics of 21st century art (e.g., the
use of graphic software like Photoshop, InDesign, etc.).
11. evaluates works of art in terms of artistic concepts and ideas using criteria
appropriate for the style or form.
12. mounts an exhibit of completed technology-based artworks.
117
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
I. SUBJECT MATTER
Conduct the following survey to assess what the students know or have
experienced concerning computer / digital arts:
1. What forms of art are you familiar with? (e.g., painting, sketching,
sculpture, silk-screen)
2. Have you heard of computer art? If yes, can you give some examples?
3. [Showing the sample posters, book/magazine covers, etc.] Would you be
able to identify these samples as traditional art or computer art? Explain
how.
4. Can you give a brief definition of what computer art is?
5. Do you have any experience with using the computer? If yes, what
device(s) have you used?
6. What computer software do you use?
7. For what purposes do you use these?
8. Have you ever tried creating art with a computer? If so, what did you create
and how did you create it?
General instructions:
1. Explain to the students that the culminating activity for Quarter II will be
an Exhibit of Technology-Based Arts.
118
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter II: Technology-based Art
2. Brief them that the various artworks that they will create in all the sessions
of Quarter II will be labelled for proper curating and will be turned over to
you for safekeeping, to be retrieved for mounting in the final exhibit.
3. Explain that, due to time constraints with just eight class sessions for Art in
one quarter, they must be prepared to complete the artworks and/or do
other required tasks for the exhibit outside of class hours.
[Note to the teacher: If time is too limited, the culminating exhibits for BOTH
Quarters II and III can be presented AT THE END OF QUARTER III instead –
since the forms of art presented in the two quarters are related.]
IV. ACTIVITIES
1. Have the class turn to pages 232-236 of the Arts Grade 10 Learner’s
Materials, and look over the examples of digital art presented.
2. Ask them what their general impression of these artworks is, and have
them explain their opinions.
3. Ask them what common characteristic(s) they notice in these works,
and to point out these characteristics to support their observation.
B. WHAT TO KNOW
Have the class answer the What to Know questions on page 236 of the Arts
Grade 10 Learner’s Materials:
Have the students do the following What to Process activity on page 237 of
the Arts Grade 10 Learner’s Materials.
119
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
D. WHAT TO UNDERSTAND
Have the class answer the What to Understand questions on pages 237-
238 of the Arts Grade 10 Learner’s Materials:
1. Research online for the works of any two of the following digital
artists who were at the forefront of this field in the early 1960s:
James Faure Walker Geroge Grie
Manfred Mohr Olga Kisseleva
Ronald Davis John Landsdown
Joseph Nechvatal Perry Welman
Matthias Broegel Jean-Pierre Hebert
120
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter II: Technology-based Art
Select one artwork each by the artists that you have chosen. Give the
basic details of each (title of work, name of artist, technique used, year
created). Briefly explain how the following principles of art are
incorporated or expressed in these particular works:
Rhythm, Movement
Balance
Emphasis
Harmony, Unity, and Variety
Proportion
2. Then write a brief personal reaction that you have to the works you
chose—whether positive or negative. Explain your opinion.
3. Was there a difference in how Filipino artists first ventured into the
world of digital art? If yes, explain briefly.
4. Research online for three Filipino artists using digital techniques for
their works. Compare and contrast their works with the examples of
digital art by foreign artists in the Arts Grade 10 Learner’s Materials.
121
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
E. WHAT TO PERFORM
Having presented the concept and techniques of computer/digital art, guide the
students in planning how to prepare their artworks for the culminating exhibit
at the end of the quarter.
1. All the finished artworks will have to be labelled with original titles, the
student’s name or the group members’ names, the date, and the technique
used.
2. As the Arts teacher, you will store the finished artworks for inclusion in
the exhibit at the end of the quarter.
V. GENERALIZATION
Use the following quiz items to assess the students’ grasp of the topics
discussed:
122
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter II: Technology-based Art
I. SUBJECT MATTER
Conduct the following survey to assess what the students know or have
experienced concerning mobile phone art and computer-generated images:
1. Do you own a personal mobile phone or android phone? If so, does it have
a camera for capturing images?
2. Have you experienced taking photos with your mobile phone? If so, what
types of photos do you usually take?
3. Have you tried to modify those images in some way? What program(s) or
application(s) did you use?
4. Have you created original artworks from scratch on a computer, laptop, or
tablet? If so, what kind of artworks were these?
5. What program(s) did you use to create them?
III. ACTIVITIES
1. Have the class turn to pages 241-243 of the Arts Grade 10 Learner’s
Materials, and look over the examples of cellular phone art presented.
2. Ask them if any of these images and their modified versions are
similar to ones they have made themselves.
123
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
3. Ask what other image modifications and effects, aside from those
shown, they have done themselves. Have them relate their experiences
using different applications for these.
4. Have them also go over the section on computer-generated images,
page 244 in the Arts Grade 10 Learner’s Materials.
5. Ask them what computer programs are used to create such images.
B. WHAT TO KNOW
Have the class answer the What to Know questions on pages 244-245 of
the Arts Grade 10 Learner’s Materials:
Have the students do the following What to Process activity on page 244 of
the Arts Grade 10 Learner’s Materials.
124
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter II: Technology-based Art
D. WHAT TO UNDERSTAND
Have the class answer the What to Understand questions on page 246 of
the Arts Grade 10 Learner’s Materials:
125
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
E. WHAT TO PERFORM
Having presented the concept and techniques of mobile phone art and
computer-generated images, guide the students in planning how to prepare
their artworks for the culminating exhibit at the end of the quarter.
1. All the finished artworks will have to be labelled with original titles, the
student’s name or the group members’ names, the date, and the technique
used.
2. As the Arts teacher, you will store the finished artworks for inclusion in
the exhibit at the end of the quarter.
IV. GENERALIZATION
Mobile phone art is a form of modern art that emerged due to the available
technology on mobile phones with built-in cameras that could capture and store
images. This further evolved dramatically with the development of android
phones that can now use image editing applications to modify and manipulate
the captured images right on the phone unit itself.
V. SUMMATIVE TEST
Use the following quiz items to assess the students’ grasp of the topics
discussed:
126
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter II: Technology-based Art
I. SUBJECT MATTER
Conduct the following survey to assess what the students know or have
experienced concerning digital photography:
1. How do you take pictures for your own personal use and enjoyment?
2. What device(s) do you use – your mobile phone, digital camera, or tablet?
3. If you use a digital camera, is it the type that does all the image adjustments
for you automatically?
4. Do you know what a DSLR camera is?
5. Have you ever tried using such a camera?
6. If yes, how did it differ from using a regular digital camera?
127
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
7. Have you taken photographs for purposes other than for just personal use
and enjoyment? If so, what were these for?
III. ACTIVITIES
1. Have the class turn to pages 246-248 of the Arts Grade 10 Learner’s
Materials, and read the explanation of the very simple technology of
early photography.
2. Announce that they will be doing a simulation of that early form of
camera to better understand the principles behind it.
3. Have them then read the description of the two basic types of digital
photography available today: point-and-shoot and DSLR.
4. If available, show to the class actual examples of a digital camera and
a DSLR camera. Discuss the differences and similarities of the two.
B. WHAT TO KNOW
Have the class answer the What to Know questions on page 248 of the Arts
Grade 10 Learner’s Materials:
C. WHAT TO PROCESS
Have the students do the following What to Process activities on pages 248-
250 of the Arts Grade 10 Learner’s Materials.
128
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter II: Technology-based Art
1. Using any cameras available to the class members, have them follow
the instructions given in the Arts Grade 10 Learner’s Materials for
taking either point-and-shoot or DSLR photos.
2. The exposure to photography in Quarter II is more for the students to
become familiar with the process of using the cameras, and
understanding the underlying technology.
3. There will be separate group projects in Quarter III allowing the
students to take photos with an assigned or chosen theme, as potential
artworks for the culminating exhibit on Technology-based Arts.
4. For this session of Quarter II, let the students experiment and discuss
among themselves about the different photography techniques they are
experiencing.
D. WHAT TO UNDERSTAND
Have the class answer the What to Understand questions on page 250 of the
Arts Grade 10 Learner’s Materials:
1. What was the experience like creating your own pinhole camera and
being able to capture images using it?
2. What do you see as the advantages of digital photography as compared
to the earlier film-type photography?
3. What do you think of the view that film photography is more “artistic”
than digital photography? Support your opinion.
4. If you have experienced both regular digital photography and DSLR
photography, which one did you find more useful to you? More
doable? More interesting? Explain your answers.
5. What do you think of the way digital technology has made quality
photography accessible to everyone – including young people like
you?
129
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
E. WHAT TO PERFORM
1. All the finished artworks will have to be labelled with original titles, the
student’s name or the group members’ names, the date, and the technique
used.
[Note: For Sessions 5 and 6, the artworks to be prepared will be the
photos taken using the “pinhole cameras” made by the students. In the
final exhibit, these will make an interesting contrast to the digital photos
they will take in Quarter III.]
2. As the Arts teacher, you will store the finished artworks for inclusion in
the exhibit at the end of the quarter.
IV. GENERALIZATION
The two basic types of digital photography are point-and-shoot and DSLR.
Point-and-shoot means that the camera pre-sets the needed elements so that the
user can literally just click away. The DSLR type enables the photographer to
still make his/her own judgments on how to set the device’s features to achieve
the desired image results.
V. SUMMATIVE TEST
Use the following quiz items to assess the students’ grasp of the topics
discussed:
1. What is digital photography?
2. How does it differ from the traditional film-type of photography?
3. Briefly describe the elements of a pinhole camera.
130
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter II: Technology-based Art
4. What was the basic technology that allowed such a simple device to take
photos?
5. Cite one or two technological developments that made digital
photography possible.
6. What are the two basic types of digital photography?
7. Briefly describe point-and-shoot photography.
8. Briefly describe DSLR photography?
9. What elements of photo-taking are pre-set by a point-and-shoot camera?
10. Without film, how do digital cameras capture and store images?
Quarter II – Session 7
VIDEO GAMES / DIGITAL PAINTING / IMAGING VIDEOS
I. SUBJECT MATTER
II. PRE-ASSESSMENT
Conduct the following survey to assess what the students know or have
experienced concerning video games / digital painting / imaging videos:
1. Do you play video games?
2. What device(s) do you play them on? Your mobile phone? A tablet? A
laptop? A desktop computer?
3. What particular games do you like to play?
4. What features make you choose a particular game over others?
5. Is the visual appearance of the game important to you? Why or why not?
6. Have you experienced creating your own simple video games?
7. Have you taken videos of yourself and your friends/family? If so, what
device do you use for this?
8. Do you use any video editing software? If so, what kind?
9. Have your tried digital painting? If so, what software do you use?
10. Briefly explain what imaging videos are? In what areas of modern life are
these used? Have you experienced any of these yourself?
131
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
III. ACTIVITIES
1. Have the class turn to pages 251-252 of the Arts Grade 10 Learner’s
Materials, and read the sections on: video games, digital painting, and
imaging videos.
2. Lead the students in a short discussion on how these different forms of
digital imaging are used in daily life.
B. WHAT TO KNOW
Have the class answer the What to Know questions on page 253 of the Arts
Grade 10 Learner’s Materials:
C. WHAT TO PROCESS
Have the students do the following What to Process activities on page 253
of the Arts Grade 10 Learner’s Materials.
2. Assign half of the groups to create their own video games (using any
simple software that they have available or can download from the
internet for free); and the other half of the groups to create works of
digital painting.
132
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter II: Technology-based Art
4. They will then save their finished video games or digital paintings in a
storage device that you will hold for safekeeping until the culminating
exhibit on Technology-based Arts.
D. WHAT TO UNDERSTAND
Have the class answer the What to Understand questions on pages 253-254
of the Arts Grade 10 Learner’s Materials:
E. WHAT TO PERFORM
Having presented the concept and techniques of creating video games and
doing digital painting, guide the students in planning how to prepare their
artworks for the culminating exhibit at the end of the quarter.
1. All the finished artworks will have to be labelled with original titles, the
student’s name or the group members’ names, the date, and the technique
used.
[Note: For the video games and digital paintings created in Session 7,
some form of device with a display capability will need to be prepared
prior to the culminating exhibit. This could be a desktop computer or a
laptop/tablet connected to a large monitor, if available within the school
or loaned from a student’s family.]
133
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
2. As the Arts teacher, you will store the finished artworks for inclusion in
the exhibit at the end of the quarter.
IV. GENERALIZATION
Video games, digital painting, and video imaging are advanced applications
of the digital technology available today for a wide range of purposes.
Video games are not only played and enjoyed by countless gamers all over the
world, they can also be developed by amateurs on a personal device using
available software. They now also involve extremely complex and realistic
graphics and animation techniques that may be considered a form of modern art.
V. SUMMATIVE TEST
Use the following quiz items to assess the students’ grasp of the topics
discussed:
134
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter II: Technology-based Art
Quarter II – Session 8
CULMINATING ACTIVITY: EXHIBIT OF TECHNOLOGY-BASED ARTS
The last session for Quarter II will be devoted to staging “An Exhibit of Technology-based
Arts” presenting the following categories:
The students will select from among their own works created within Quarter II, as well as
source photos, magazine or calendar cutouts, Internet images, etc. of at least two to three
representative artworks each for the above categories.
Each artwork will be accompanied by a card briefly describing the work as follows:
Title _________________________________________________
Artist/s _________________________________________________
Title _________________________________________________
Artist ____________________________________________________
135
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
Have the class members invite the school Administration, other faculty members, and
their schoolmates to visit the exhibit. Help them prepare to explain the works and
how these present the characteristics of different forms of technology-based art.
Completeness of exhibit
Presentation
(display, mounting, and
labelling of works)
Assignment of tasks
136
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: MEDIA-BASED ARTS AND DESIGN
IN THE PHILIPPINES
CONTENT STANDARDS
PERFORMANCE STANDARDS
The learner…
1. creates artworks using available media and natural resources on local topics,
issues, and concerns such as environmental advocacies, ecotourism, and economic
and livelihood projects.
LEARNING COMPETENCIES
The learner…
1. identifies art elements in the various media-based arts in the Philippines.
2. identifies representative artists as well as distinct characteristics of media-based
arts and design in the Philippines.
3. realizes that Filipino ingenuity is distinct, exceptional, and on a par with global
standards.
4. determines the role or function of artworks by evaluating their utilization and
combination of art elements and principles.
5. uses artworks to derive the traditions/history of a community.
6. creates artworks that can be assembled with local materials.
7. describes the characteristics of media-based arts and deign in the Philippines.
8. applies different media techniques and processes to communicate ideas,
experiences, sand stories (the use of software to enhance/animate images like
Flash, Movie Maker, Dreamweaver, etc.).
9. evaluates works of art in terms of artistic concepts and ideas using criteria
appropriate for the style or form of media-based arts and design.
10. mounts a media-based exhibit of completed artworks.
137
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
I. SUBJECT MATTER
General instructions:
1. Explain to the students that the culminating activity for Quarter III will be
an Exhibit of Media-based Arts and Design.
2. Brief them that the various artworks that they will create in all the sessions
of Quarter III will be labelled for proper curating and will be turned over to
you for safekeeping, to be retrieved for mounting in the final exhibit.
3. Explain that, due to time constraints with just eight class sessions for Art in
one quarter, they must be prepared to complete the artworks and/or do
other required tasks for the exhibit outside of class hours.
4. Special issue to consider: Given the accessibility and cost of many of the
digital devices, programs, and applications needed, the art pieces to be
exhibited will be a combination of student-made works and examples of
various commercially- and publicly-available media using digital arts.
[Note to the teacher: If time is too limited, the culminating exhibits for BOTH
Quarters II and III can be presented AT THE END OF QUARTER III instead –
since the forms of art presented in the two quarters are related.]
138
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Media-based Arts and Design
Conduct the following survey to assess what the students know or have
experienced concerning photography:
1. Recall your experience with making and using a pinhole camera in Quarter
II. What did you learn about the process of photography through that
experience?
2. Since then, have you tried using other kinds of photo-taking devices (your
mobile/android phone, tablet, digital ‘point and shoot’ camera, DSLR
camera)?
3. What observations do you have about using that particular device or more
than one of them?
4. Do you know of any famous Filipino photographers? If yes, name them.
5. How did you learn about these photographers?
IV. ACTIVITIES
2. Have the class turn to pages 259-260 of the Arts Grade 10 Learner’s
Materials, and ask them to read silently the sections on the
photographer as artist and on photography as communication.
4. Review briefly with the class the elements and principles of art that
they have studied since the earlier grades:
a) elements of art – line, shape/form, space, color, value, texture
b) principles of art – balance, proportion, rhythm, emphasis, harmony
5. Call on some students to comment on how they see these elements and
principles in the sample photographs.
139
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
6. Have the class turn to pages 260-263 of the Arts Grade 10 Learner’s
Materials, and ask them to read silently the section on noteworthy
Philippine photographers.
B. WHAT TO KNOW
Have the class answer the What to Know questions on page 264 of the
Arts Grade 10 Learner’s Materials:
1. What two Greek words are the origins of the term “photography”?
What makes them fitting for this media-based art form?
2. How does technology contribute to the development of an art like
photography?
3. Why is photography truly a “modern” art form?
4. What special talents and skills does a photographer have that make
him or her an artist?
5. What qualities make photography such a powerful communication
tool?
6. Name some noteworthy Filipino photographers presented above, plus
others you may have researched on. Cite a distinctive achievement of
each.
7. What type of subjects seems to be among their favorites to
photograph?
8. Looking at the sample photographs shown, explain how the principles
of art (rhythm/movement, balance, emphasis, proportion, harmony,
unity, variety) are made use of by the photographer as an artist.
Have the class do the What to Process activities on page 264 of the Arts
Grade 10 Learner’s Materials:
140
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Media-based Arts and Design
3. Together with their respective groups, the students will move around
the classroom and school grounds on their own time, taking
photographs according to their assigned/chosen theme. They will store
the best ones in their devices for group evaluation.
4. As a group, they will then select one photograph taken by each group
member that best captures the theme. If there are 8 group members,
there will be 8 selected photos.
5. Next, they will plan with their group how and where to have these
selected photos printed on letter-size paper (8½” x 11”). Then, these
will be turned over to you for safekeeping until they will be presented
in the culminating exhibit.
D. WHAT TO UNDERSTAND
Have the class do the following What to Understand activity on page 265
of the Arts Grade 10 Learner’s Materials:
“What’s In a Photo?”
141
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
E. WHAT TO PERFORM
Guide the students in preparing their photographs for the culminating exhibit
at the end of the quarter by labelling them with original titles, their group
members’ names, the date, and the device used.
V. GENERALIZATION
Photography is literally “light writing” from the Green words photos (meaning
light) and graphos (meaning writing). Images are recorded through light action
on light-sensitive materials—previously celluloid film, but today on digital
storage devices.
Use the following quiz items to assess the students’ grasp of the topics
discussed:
1. What two Greek words are the origins of the term “photography”?
2. Name three ways in which technology contributed to the development of
photography.
3. How is a photographer also an artist?
4. In what ways is photography a form of communication?
5. Name the two well-known Filipino photographers presented in these
sessions.
6. Name others you may have discovered through your research.
142
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Media-based Arts and Design
I. SUBJECT MATTER
Conduct the following survey to assess what the students know or have
experienced concerning film:
143
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
III. ACTIVITIES
2. Ask the other students to give their comments on the videos shown.
3. Have the class turn to pages 266-268 of the Arts Grade 10 Learner’s
Materials. Ask volunteers to briefly explain how filmmaking is a
technology-driven art—advancing from still photography to moving
pictures.
5. Ask the students if they can imagine themselves in any of these roles
in a film production? What role would this be and why?
6. Bring out the sample DVD jackets or teacher-made flash cards. Hold
them up in random order for the class to see and to identify to what
particular film genre each one belongs.
7. Have the class read through pages 269-271 of the Arts Grade 10
Learner’s Materials, presenting well-known Filipino filmmakers.
Ask them if they have seen any films by these directors, and what their
opinions of these films are and why.
B. WHAT TO KNOW
Have the class answer the What to Know questions on page 272 of the
Arts Grade 10 Learner’s Materials:
144
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Media-based Arts and Design
Have the class do the What to Process activity on page 272 of the Arts
Grade 10 Learner’s Materials:
3. Each group will choose a catchy tune of about two minutes in length.
4. On their own time outside of class hours, each group will create a
series of “video selfies” of themselves with that tune as the
background music.
5. Using a video editing program (as discussed in Quarter II), they will
work together to synchronize the video segments with the beat and
lyrics of their chosen song.
6. Each group will save the finished video and turn it over to you for
safekeeping until it will be presented as part of the culminating exhibit.
D. WHAT TO UNDERSTAND
Have the class do the following What to Understand activity on page 273
of the Arts Grade 10 Learner’s Materials:
145
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
“Film Viewing”
2. After both film viewings have been completed, lead the class in a
discussion on the following about each excerpt:
a) title
b) director
c) year
d) lead characters and the actors who played them
e) film genre
f) specific scenes or techniques that show the art of filmmaking
3. Guide the class in comparing and contrasting the qualities they observed
in the Filipino and the American/foreign films that make each one
unique.
E. WHAT TO PERFORM
Guide the students in preparing their short videos for the culminating
exhibit at the end of the quarter by labelling them with original titles, their
group members’ names, the date, and the film editing software used.
IV. GENERALIZATION
146
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Media-based Arts and Design
The Philippines has a number of highly talented and respected film directors.
Among them are Lino Brocka, Ishmael Bernal, Mike de Leon, Laurice
Guillen, Marilou Diaz-Abaya, Maryo J. delos Reyes, and Brillante
Mendoza.
V. SUMMATIVE TEST
Use the following quiz items to assess the students’ grasp of the topics
discussed:
I. SUBJECT MATTER
147
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
III. ACTIVITIES
2. Explain that these are all examples of media-based arts that have
undergone tremendous advancements thanks to developments in
computer technology. These have made it possible to create, store, and
distribute digital arts in amazing new ways—which will be presented
in these sessions.
3. Have the students turn to the Arts Grade 10 Learner’s Materials, and
read the sections about each of these modern art forms:
a) animation (pages 274-276)
b) advertising (pages 278-279)
c) comics illustration (pages 280-284)
d) book design and illustration (pages 286-287)
148
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Media-based Arts and Design
B. WHAT TO KNOW
Have the students answer the What to Know questions for each of these
media-based art forms on the pages indicated below:
149
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
For Book Design and Illustration (page 288 of the Learner’s Materials)
1. In the book publishing industry in the Philippines, how has the
profession of book design evolved?
2. What trends or styles do you notice in the examples of book design
presented?
3. What is the digital counterpart of print media now available to authors
and publishers? Briefly explain this.
4. Describe how this affects the publishing and printing industry.
a) “A Stop-action Cartoon”
b) “Promoting Products/Services for a Cause”
c) “Kool Komiks”
d) “Making a Story Book”
Those who choose the same project will be formed into groups. Then, they
will work on their respective projects together outside of class hours.
1. The group members will make use of a mobile phone, tablet, or digital
camera to do this most simple and basic process for creating what is
known as “stop-action animation.”
3. They will then carry out the action or movement, while taking a still
image of each progressive step in that action or movement.
4. The still images will then be made to “move” using a digital animation
program (as discussed in Quarter II). If the program allows the
inclusion of a music clip or sound effects, the group may opt to add
this as well.
150
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Media-based Arts and Design
5. The finished stop-action cartoons will be saved and turned over to you
for safekeeping until they will be presented as part of the culminating
exhibit.
1. The group members will decide upon a subject matter and main
character (or characters) for a simple 5-frame comic strip that they will
create.
151
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
4. The group will turn over the finished comic strip to you for
safekeeping until this will be presented as part of the culminating
exhibit.
1. The group members will decide upon a subject matter and characters
for a simple 10-page storybook that they will create.
3. The group will turn over the finished book to you for safekeeping until
this will be presented as part of the culminating exhibit.
D. WHAT TO UNDERSTAND
Have the students answer the What to Understand questions for each of
these media-based arts on the pages indicated below:
152
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Media-based Arts and Design
For Book Design and Illustration (page 289 of the Learner’s Materials)
1. Looking at the sample book covers shown, would you consider book
design and illustration an art form? Why or why not?
2. Are book design and illustration possible options as a profession for
artistic young Filipinos? Explain your opinion.
3. With books now being available online, explain how this new
development affects the buying and reading public.
4. Do you view this as a positive development? Why do you say so?
5. Do you yourself access books online? What do you find to be the
pros and cons of this new form of reading experience?
E. WHAT TO PERFORM
153
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
Note: This is to be done simultaneously for the artworks from the projects
for animation, advertising, comics illustration, and book design and
illustration.
Guide the students in labelling each artwork with the original title, the
group members’ names, the date, and the following descriptive summary
of how the works were created:
manual components (if any)
electronic devices used (digital camera, laptop, tablet, scanner,
printer, etc.)
software programs used (image capture, image manipulation,
animation, special fonts, etc.)
IV. GENERALIZATION
V. SUMMATIVE TEST
Use the following quiz items to assess the students’ grasp of the topics
discussed:
On animation
1. Name five highly-popular international animated films that have included
Filipino animators.
2. Name two foreign-produced television cartoon series in which Filipino
animators were involved.
3. Name two original Filipino animated films.
4. What are some of the institutions or associations that help develop the
talents and skills of Filipino animators.
On advertising
5. In the field of advertising, name at least five forms in which print media is
applied.
6. What are the purposes of advertising in printed form?
7. How is Filipino artistry applied in printed advertisements?
154
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Media-based Arts and Design
On comics illustration
8. Is the Philippine comic book genre just a recent development? Why do
you say so? Support your answer.
9. How were early Filipino comics artists influenced by American comics
trends? Give some examples.
10. Aside from superheroes, what themes and subject matter also became
popular in Philippine comics through the decades?
I. SUBJECT MATTER
155
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
III. ACTIVITIES
2. Allow the class to view the photos for about 5 minutes, and to discuss
their observations.
4. Have the class turn to pages 289-294 of the Arts Grade 10 Learner’s
Materials, and read the presentation on Filipino design.
156
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Media-based Arts and Design
B. WHAT TO KNOW
Have the students answer the What to Know questions on pages 294-295
of the Arts Grade 10 Learner’s Materials:
1. How does technology drive the applied arts such as product design,
fashion design, and industrial design?
2. Who is an acclaimed Filipino designer who has become known
globally for his innovative furniture pieces, lighting accessories, and
interior accents?
3. Who is hailed as the “Wrap Artiste” of the Philippines? Why is this
so? What unique materials does she use in her creations?
4. Who is the Filipino investment banker turned fashion designer,
world-renowned for luxury lingerie and lounge wear?
5. Which Filipino fashion designer is popularly recognized for being a
judge on the TV series Project Runway Philippines and a major
name in the local and international fashion scene? What other
commendable efforts is he involved in?
6. What is the new fashion line of designer Lulu Tan-Gan, known as
“The Queen of Knitwear”? What makes her creations interesting and
unique?
7. Who is the Cebu-born Filipina designer who has become the darling
of the international celebrity set from her beginnings as a wedding
dress designer?
8. Do you note a common vision among these Filipino artists? What do
you think it is? Explain briefly.
C. WHAT TO PROCESS
Have the class do the What to Process activities on page 295-296 of the
Arts Grade 10 Learner’s Materials:
1. Divide the class into two large groups. Group A will create fashion-
related pieces; while Group B will create interior design-related
pieces.
2. The key here is for each group to make use of locally and readily-
available materials in very innovative and imaginative ways.
3. The suggested target output for each group is listed below. However,
group members may have their own, even more creative ideas that
they are free to implement.
157
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
D. WHAT TO UNDERSTAND
Have the students answer the What to Understand questions on page 296
of the Arts Grade 10 Learner’s Materials:
158
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Media-based Arts and Design
E. WHAT TO PERFORM
IV. GENERALIZATION
Product design and industrial design, by their very nature, are technology-
driven. Many of the materials and processes now available to modern designers
did not exist in past decades, or have been tremendously modified and
enhanced. This can be seen most prominently in furniture, lighting, interior
fixtures and accessories—many of which creatively combine contemporary
design with a Philippine flair.
Also in the field of fashion design, for which Filipinos are already globally
admired, materials and processes have also been influenced by technology. This
can be seen in the blending of local fibers with other natural and synthetic ones,
new weaving processes and dyeing techniques, the use of embellishments like
embroidery, beadwork, applique, and others—while also being in step with
world-wide fashion trends.
V. SUMMATIVE TEST
Use the following quiz items to assess the students’ grasp of the topics
discussed:
2. Name some ways in which indigenous materials and crafts have been
incorporated in contemporary industrial, interior, and fashion design.
159
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
3. Match the following designers with what they are known for:
a) Lula Tan-Gan _____ bridal gowns
b) Monique Lhuillier _____ Project Runway Philippines
c) Kenneth Cobonpue _____ luxury lounge wear
d) Dita Sandico-Ong ____ stylish knitwear
e) Rajo Laurel ____ trendy furniture
f) Josie Natori ____ abaca fiber wraps
Quarter II – Session 8
CULMINATING ACTIVITY:
EXHIBIT OF MEDIA-BASED ARTS AND DESIGN
The last session for Quarter III will be devoted to staging “An Exhibit of Media-
based Arts and Design” presenting the following categories:
1. Photography
2. Film
3. Animation
4. Advertising
5. Comics Illustration
6. Book Design and Illustration
7. Product / Industrial / Fashion Design
The students will select from among their own works created within Quarter III, as
well as source photos, magazine or calendar cutouts, Internet images, etc. of at least
two to three representative artworks each for the above categories.
Each artwork will be accompanied by a card briefly describing the work as follows:
Title _________________________________________________
Artist/s _________________________________________________
160
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter III: Media-based Arts and Design
Title _________________________________________________
Artist ____________________________________________________
Have the class members invite the school Administration, other faculty members, and
their schoolmates to visit the exhibit. Help them prepare to explain the works and
how these present the characteristics of different forms of media-based art and design.
Selection of artworks/products
(theme and message)
Completeness of exhibit
Presentation
(display, mounting, and
labelling of works)
Assignment of tasks
161
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter IV: ORIGINAL PERFORMANCE
WITH THE USE OF MEDIA
CONTENT STANDARDS
PERFORMANCE STANDARDS
The learner…
1. creates appropriate costumes, props, set accessories, improvised lighting, and
other décor for Philippine plays.
2. creates/improvises appropriate sound, music, gesture, and movements for a
chosen theatrical composition.
3. participates in an original performance inspired by local Philippine stories, myths,
and events relevant to current issues.
LEARNING COMPETENCIES
The learner…
1. explains how an idea or theme is communicated in a selected performance
through the integration of musical sounds, songs, dialogue, and dance.
2. analyzes examples of plays based on theatrical forms, and elements of art as
applied to performance.
3. illustrates how the different elements are used to communicate the meaning.
4. defines the uniqueness of each original performance.
5. designs with a group the visual components of a school play (stage design,
costumes, props, etc.).
6. assumes the role of a character as an actor/performer, or production staff (director,
choreographer, lighting designer, stage manager).
7. analyzes the uniqueness of the group that was given recognition for its
performance and explains what components contributed to its selection.
8. contributes to the conceptualization of an original performance
9. choreographs the movements and gestures needed in the effective delivery of an
original performance with the use of media.
10. improvises accompanying sound and rhythm needed in the effective delivery of
an original performance with the use of different media.
162
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter IV: Original Performance With the Use of Media
Quarter IV – Session 1
PHILIPPINE THEATER AND PERFORMING GROUPS
I. SUBJECT MATTER
II. PRE-ASSESSMENT
Conduct the following survey to assess what the students know or have
experienced concerning a theater production or performance:
1. Can you identify these personalities from the world of Philippine theater?
(Present to the class the photographs of Lea Salonga and other theater
personalities.)
2. Have you watched excerpts of theater productions that Lea Salonga has
starred in (maybe on YouTube): Miss Saigon, Les Miserables, Flower
Drum Song, Annie.
3. Have you watched the animated films in which she provided the singing
voice of the lead female character: Mulan and Aladdin.
4. Do you know how Lea was hand-picked from among hundreds of
hopefuls in several countries for the role of Kim in Miss Saigon? And how
from there, she went on to become a multi-awarded theater star in
London’s West End and on Broadway?
5. Have you watched any live theater performance? If yes, describe the
experience.
III. ACTIVITIES
163
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
1. Explain to the class that, in this Quarter IV, they will get to learn
firsthand about the complex collaborative process of staging a theater
production—as they join the entire class in the culminating activity of
presenting an original stage performance.
2. Have the class turn to pages 300-311 of the Arts Grade 10 Learner’s
Materials, and read the sections on Philippine theater groups and on
the roles in a theater production.
4. What does this tell them about the state of the Philippine theater
industry? Have them explain their views.
4. Ask the class where they believe the various media arts they have
studied in Quarters II and III could be most effectively applied in the
staging of a theater performance.
B. WHAT TO KNOW
Have the class answer the What to Know questions on pages 311-312 of
the Arts Grade 10 Learner’s Materials.
164
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter IV: Original Performance With the Use of Media
Have the class do the What to Process activities on pages 312-313 of the
Arts Grade 10 Learner’s Materials:
“Experiencing Theater”
If feasible, schedule a time within Quarter IV for the class to watch a live
play. Depending on what is available or accessible in your area within that
period, any of the following may be considered:
165
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
1. Instruct the students to watch the play very attentively. Have them
observe how the plot is developed and take note of the artistic
elements and principles used.
Scriptwriter __________________________________________
Director __________________________________________
Setting __________________________________________
D. WHAT TO UNDERSTAND
166
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter IV: Original Performance With the Use of Media
General orientation:
1. Brief the students on the entire process that they will go through in the
remaining sessions of Quarter IV (see outline on pages 313-316 of the
Learner’s Materials).
IV. GENERALIZATION
V. SUMMATIVE TEST
Use the following quiz items to assess the students’ grasp of the topics
discussed:
1. What are the different art forms that all come together in the production of
a theater performance?
2. Name the two Philippine theater groups that present original and adapted
plays in Filipino.
3. Name at least three other active theater groups in the country that stage
theater productions, primarily in English.
4. Cite the achievements of theater actress Lea Salonga.
5. Who is the overall ‘conductor’ of a theater production?
6. Name at least five other roles that are needed in mounting a production on
stage. Briefly describe the main task involved in this role.
167
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
Quarter IV – Sessions 2 to 8
ORIGINAL PERFORMANCE WITH THE USE OF MEDIA
During Session 1, you would have already oriented the class on this culminating
activity of staging an original theater performance. Every class member would
already have been assigned his or her specific role in the production process, which
each one shall then carry out in the course of the Quarter.
168
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter IV: Original Performance With the Use of Media
As mentioned at the start of this Quarter, theater is an art form that brings
together an entire range of art forms—along with their corresponding
elements and principles.
As the entire class begins production of the play’s sets, costumes, and props;
the design of the lighting and sound; and the acting rehearsals, all class
members should maintain a clear intent to apply the following in this
particular class production:
1. Rhythm, Movement
2. Balance
3. Emphasis
4. Harmony, Unity, and Variety
5. Proportion
169
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS Teacher’s Guide
As a form of self-evaluation, have the class members rate their performance using the
format below:
Casting of characters
Assignment of tasks
170
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Quarter IV: Original Performance With the Use of Media
Rehearsal process
Production process
Scriptwriting
Direction
Stage management
Acting
Stage design
Lighting
Music
Choreography
Sound effects
Costumes
Makeup
Audience response
171
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC GLOSSARY
absolute music Music with no extra-musical association such as words, visual imagery, or emotion;
the opposite of program music
a cappella A Latin term, applied to choral music without accompaniment
aerophone Any musical instrument that produces sound primarily by causing a body of air to vibrate,
without the use of strings or membranes
alternative music An underground independent form in the 1980’s that became widely popular in the
1990’s for defying the excesses of “mainstream” rock music, Alternative Music became known for
its unconventional practices such as distorted guitar sounds, oppressive lyrics, and defiant
attitudes.
alto 1 A female voice with a range lower than a soprano, but higher than the male tenor
2 A term used for an instrument whose range is analogous to the alto voice
aria An air or song for solo voice with orchestra, usually part of an opera, cantata, or oratorio
art song Short stylized song dealing with such subjects as love, nature, and life. It is usually written
for one voice with piano accompaniment
atonality A term used for music without a central key, thereby producing dissonant harmonies and
disjunct melodies
avant-garde A French term used to describe composers (also artists and writers) whose works are
radical and advanced
ballad Is an expressive folksong in narrative verse whose text deals typically about love.
ballet An artistic dance form performed to music, using precise and highly formalized set steps and
gestures
beat Regular, current pulsation that divides music into equal units of time
bebop It is a modernist jazz style of music during World War II whose jazz spirit is coupled with the
harmonic standard structure as a new pattern to base its improvisation.
big band A large ensemble form originating in the United States in the mid 1920’s closely associated
with the Swing Era with jazz elements. Relying heavily on percussion (drums), wind, rhythm
section (guitar, piano, double bass, vibes), and brass instruments (saxophones), with a lyrical
string section (violins and other string instruments) to accompany a lyrical melody.
bodabil A genre of various entertainment composed of songs, dances, comedy routines, magic acts,
and chorus girls
bossa nova originated in 1958-59 as a movement effecting a radical change in the classic Cuban
samba. The word “bossa” comes from the Brazilian capital of Rio de Janeiro, which means either
‘trend’ or ‘something charming’, integrating melody, harmony, and rhythm into a “swaying” feel,
where the vocal production is often nasal.
blues A type of black American folk music of the 20th century related to jazz, and associated with
one’s state of mind
blues ballad A fusion of Anglo-American and Afro-American styles from the 19th century that
deals with the anti-heroes resisting authority.
call and response method It is a succession of two distinct musical phrases usually rendered by
different musicians, where the second phrase acts as a direct commentary on or response to the
first. Much like the question and answer sequence in human communication, it also forms a strong
resemblance to the verse-chorus form in many vocal compositions.
cha cha A ballroom dance originating in Cuba in 1953, derived from mambo and its characteristic
rhythm of 2 crochets – 3 quavers – quaver rest with a syncopation on the 4th beat.
chamber music Music for a chamber (or small room) rather than a hall; hence music played by small
groups—duos, trios, quarters, etc.
chance music Music in which chance or randomness of performance is an element of the composition.
chord The simultaneous sounding of two or more tones
chordophone Any musical instrument that produces sound primarily by vibrating strings
chromatic An interval based on an octave of 12 semitones rather than a diatonic scale
172
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
concerto Originally, a work (vocal or instrumental) with effects of contrast, but now a work in which
a solo instrument performs with a large ensemble or orchestra
counterpoint The simultaneous combination of two or more melodies, or polyphony
countersubject A subsidiary theme played in response to the subject of a figure
cumbia An African courtship dance with European and African instrumentation and characteristics,
which became popular in Panama and Colombia
disco Music pertained to rock music that was more danceable, which led to the establishment of
venues bearing the same name as a place for public dancing
dissonance An interval or chord that is not harmonious like a consonance
dynamics Variations in the volume of musical sounds
harmony The combination of simultaneous tones to produce chords, and the relationship of successive
chords
idiophones A musical instrument that creates sound through its own vibration, without the use of
strings or membranes
impressionism A term borrowed from painting to describe music that is intended to convey an
impression (often of natural phenomena) rather than a dramatic or narrative idea
incidental music Music composed as a background in a stage production
interval The distance between two pitches, traditionally measured in terms of the steps in the diatonic
scale
maracatu A form of Latin-American music that first surfaced in the African state of Pernambuco,
combining the strong rhythms of African percussion instruments with Portuguese melodies.
melody A succession of notes of varying pitch with a recognizable shape or tune
meter Organization of beats into regular groups
musique concre’te Music in which real (or “concrete”) sounds are electronically recorded
neo-classical A term describing the music of some twentieth-century composers whose techniques
draw on those of the Baroque and Classical periods
note Symbol used to indicate pitch
opera A drama set to music, with costumes and scenery to complement the musicians
173
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
opus The Latin word for “work” used with a number to identify a work in a composer’s output
paso doble (meaning “double step”) A theatrical Spanish dance used in bullfights, where the music
was played as the matador enters (paseo) and during passes just before the kill
pitch Relative highness or lowness of a sound
polyphony A texture in which two or more independent melodic lines are combined, as opposed to
heterophony, homophony, monophony
prelude A short instrumental work originally intended to precede another, but from the nineteenth
century a short, self-contained piece usually for piano
program music Instrumental music that is narrative or descriptive of some non-musical idea, often
literary or pictorial
progression A musically logical succession of chords
ragtime An American popular musical style mainly for piano, originating in the red light districts of
the Afro-American communities in St. Louis and New Orleans. Its style was said to be a
modification of the “marching mode” made popular by John Philip Sousa, where the effect is
generated by an internally syncopated melodic line pitted against a rhythmically straightforward
bass line.
reggae An urban popular music and dance style that originated in Jamaica in the mid 1960’s,
containing an English text coupled with Creole expressions that were not so intelligible to the non-
Jamaican.
rhythm The distribution of sounds into groups with a perceptible meter or pulse
rock ballad It is an emotional love song with suggestions of folk music, as in the Beatles’
composition “The Ballad of John and Yoko” and Billy Joel’s “The Ballad of Billy.” This
style is sometimes applied to strophic story-songs such as Don McLean’s “American Pie.
rock and roll Popular song form in the United States during the late 1940’s to the 1950’s that
combines Afro-American forms such as the blues, jump blues, jazz, and gospel music with
the Western swing and country music.
rumba A popular recreational dance of Afro-Cuban origin, performed in a complex duple meter
pattern and tresillo, which is a dotted quaver – dotted quaver – dotted semiquaver rhythm. It is
normally used as a ballroom dance
174
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
tablature A system of notation by symbols that represent the position of a performer’s fingers (e.g., on
a guitar) rather than the tone to be played
tango A Latin-American dance form whose name may have been of African origin meaning “African
Dance” or from the Spanish word “taner” meaning to play (an instrument).
tempo The speed of a piece of music
tenor The highest normal male voice
theme A musical idea on which a work is based, usually with a recognizable melody
timbre Quality of sound that distinguishes one instrument or one voice from another
time signature Two numbers, one above the other, appearing at the beginning of a staff, or the start of
the piece, indicating the meter of a piece; the number above refers to the number of beats per
measure, and the number below represents the note that gets one beat
tonality The feeling of gravitational pull towards a particular tone, determined by the key of the music
tone Sound that has a definite pitch or frequency
tone-color The quality of the sound of a particular instrument or voice, or a combination of them
triad A three-note “common” chord consisting of a fundamental tone with tones at the intervals of a
3rd and 5th above
twelve-tone A term used to describe a technique of composition (serialism) in which all 12 notes of
the chromatic scale are treated equally
zarzuela A musical stage performance popularized in the Philippines during the Spanish period
175
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Musicians’ Names Pronunciation
ARTS GLOSSARY
abstractionism An artistic style in which the natural appearance of objects becomes unimportant, and
images are reduced to geometrical shapes, patterns, lines, angles, textures, and colors
acrylic A fast-drying paint containing pigment suspension in acrylic polymer emulsion
action painting A style of painting in which paint is spontaneously dribbled, splashed, or smeared on
the canvas, rather than being carefully applied
aesthetic Relating to or dealing with the beautiful; pleasing in appearance
airbrush A device that is used to spray a liquid (such as paint) onto a surface
android A mobile operating system (OS) developed for use on electronic devices such as a mobile
phone or tablet; sometimes also used to refer to the device itself using such an OS
animation The process of creating the illusion of motion or shape change by means of the rapid
display of a sequence of static images that are minimally different from one another
avant-garde Experimental or innovative, particularly in art and culture
balance A principle of art having to do with visual equilibrium, or two parts or sides of an artwork
having equal “visual weight”
dadaism A movement in art and literature based on deliberate irrationality and negation of traditional
artistic values
dark room A room from which all light is excluded, so that photographs can be developed in it
digital Referring to data (including images) that are created, stored, and transmitted through electronic
means
digital camera A camera that encodes images and videos through electronic means (rather than
through traditional film) and stores them for later retrieval and use
176
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
digital single lens reflex (DSLR) camera A camera that combines the features of a traditional single-
lens reflex camera with a digital imaging sensor, eliminating the use of film
distortion / distorted The alteration of the original shape of something, such as an object or image
documentary A film or TV program presenting the facts about a person or event
dubbing The act or process of furnishing a film or tape with a new sound track or adding music,
sound effects, etc. to an existing one
embellishment Anything that adds design interest to a piece, usually in sewing, arts, and crafts
entrepreneur A person who conceptualizes and develops a business
expressionism A theory or practice in art of seeking to depict the subjective emotions and responses
that objects and events arouse in the artist
fauvism A movement in painting characterized by vivid colors, free treatment of form, and a resulting
vibrant and decorative effect
filter In photography, a device that partially or completely absorbs certain light rays
fish eye A visual distortion, usually in a photographic image, created by a special lens resulting in a
convex, hemisphere-shaped image
focal Placed at or measured from a focus
footage Film that has been shot
foreground The part of a scene or picture that is nearest to and in front of the viewer
form The element of art pertaining to the three dimensions (height, width, and depth) of art objects; or
the appearance or illusion of these three dimensions, as in a painting
futurism A movement in art, music, and literature begun in Italy about 1909 and marked especially
by an effort to give formal expression to the dynamic energy and movement of mechanical
processes
impasto An art technique involving heavy application of paint to canvas, often with a spatula or knife
instead of a paintbrush, and sometimes directly from the tubes of paint
impressionism A school of late 19th century French painters who depicted the appearance of images
by using strokes of unmixed colors to give the impression of the reflected light
improvised Created or devised with the use of whatever is on hand
installation art Art that is created, constructed, or installed on the site where it is exhibited, often
incorporating materials or physical features on the site
landscape In art, the depiction of natural scenery such as mountains, valleys, forests, and rivers as the
main subject of the artwork
mechanical style An artistic movement in which figures and images were reduced to basic elements,
such as planes, cones, spheres, cylinders, and other mechanical components; even human figures
were mere outlines without expression
mime The art or technique of portraying a character, mood, idea, or narration by gestures and bodily
movements
minimalism A style or technique (as in music, literature, or design) that is characterized by extreme
spareness and simplicity
177
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
mixed media Varied artistic materials and processes used in combination in one artwork
monochromatic Having only a single color
montage In filmmaking, the process of editing the film footage
monumental Huge, imposing, great
mythical Referring to a creature, character, or place that is found in myths, legends, and fantasy
stories
neodadaism A minor movement chiefly of the 1960s reviving some of the objectives of dada but
placing emphasis on the importance of the work of art produced rather than on the concept
generating the work
neoprimitivism An early 20th century art movement inspired by the native arts of Africa and the
South Sea Islands
neo-realism Any movement seeking to incorporate a modified form of realism, as in art, cinema,
literature, or philosophy
nickelodeon In the early 1900s, a motion-picture theater, variety show, etc. where admission was a
nickel (five cents)
nonobjectivism An artistic style that had no reference to recognizable objects; lines, shapes, and
colors were used in a cool, impersonal approach that aimed for balance, unity, and stability
op art “Optical art,” a style of abstractionism popular in the 1960s which made use of precisely
planned and positioned lines, spaces, and colors to create the illusion of movement
palette In art, a wooden board used for mixing colors for painting
performance art A form of theatrical art featuring the activity of the artist and works presented in a
variety of media
perspective The art of picturing objects or a scene in such a way as to show them as they appear to the
eye with reference to relative distance or depth
photomontage A combination of several photographs joined together for artistic effect or to show
more of the subject than can be shown in a single photograph
pictograph A written or drawn symbol that conveys its meaning through its visual resemblance to a
physical object
pigment A dry insoluble substance, usually pulverized, which when suspended in a liquid becomes a
paint, ink, etc.
playwright A writer of plays; dramatist
plotter A computer printer for printing vector graphics
pop art A form of art that depicts objects or scenes from everyday life and employs techniques of
commercial art and popular illustration
proportion A principle of art having to do with the relative size and positions of components in an
artwork; also called “scale”
rhythm A principle of art resulting from the repetition of elements or components of an artwork in a
specific pattern
satire A genre of literature, visual art, and performing arts in which shortcomings, vices, and abuses
of a certain segment of society are presented humorously in order to urge improvement
shutter In photography, a device for opening and closing the lens of a camera to expose the film
inside it to light
slapstick comedy Broad comedy characterized by boisterous action
snapshot A photograph, usually taken quickly and spontaneously
social realism Art used to comment on or protest against social ills such as injustice, inequality, war,
poverty, industrial hazards, environmental destruction, etc.
stencil A sheet of material that has been perforated with a pattern; ink or paint can pass through the
perforations to create the printed pattern on the surface below
178
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
still life A work of art in which ordinary household objects such as vases of flowers, plates, fruit,
food, and the like are depicted as the main subject
street theater The presentation of plays or other entertainment by traveling companies on the streets,
in parks, etc.
stucco A material made of lime, sand, and water used as a decorative coating for walls and ceilings
surrealism A style of painting depicting strange subjects like those seen in dreams and fantasies
symmetrical Having both sides of an object identical or very similar to one another, creating a sense
of balance
tablet A mobile computer with a touch screen display, circuitry, and battery in a single unit
tactile Perceptible to the sense of touch; tangible
texture An element of art having to do with the roughness or smoothness of an artwork’s surface
three-dimensional Having three dimensions: length, width, and depth
two-dimensional Having two dimensions: length and width
unity A principle of art referring to the integration of all the components of an artwork to create a
meaningful whole
zarzuela A Philippine adaptation of the European opera, highly popular during the late 1800s to the
early 1900s
Cezanne – say-ZAHN
Delacroix – deh-lah-KRWAH
Manet – mah-NAY
Monet – moe-NAY
Renoir – ruhn-WAR
Van Gogh – van-GO
Art Terms
aesthetic - es·thet´ic
celluloid - sel´lu·loyd
cubism - kyu´bism
fauvism - fov´ism
genre - zhon´r
montage - mon·täzh´
surrealism - sur·re´al·ism
179
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC BIBLIOGRAPHY
Books
Abraham, Gerald. The Concise Oxford History of Music. Oxford: Oxford University Press,
1990.
Ainsley, Robert (ed). Classical Music. New York: Smithmark Publishers, 1995.
Alberti, Luciano. Music of the Western World. New York: Crown Publishers, Inc. 1974.
Bartok, Bela . Album of Selected Pieces for the Piano, Volumes I and II. Compiled and
Arranged by Katherine K. Davis. Copyright by E. C. Schirmer Music Co.,
Boston,Massachusetts, USA.
Bonis, Ferenc. Bela Bartok. Budapest: Kossuth Printing House, 1981.
Burrows, John. (general editor). Classical Music. Introduction by Lady Solti. London:
Dorling Kindersley Limited, 2005.
Cultural Center of the Philippines. Encyclopedia of Music,
Cultural Center of the Philippines Library. Souvenir programmes.
Debussy, Claude. Preludes pour Piano. France: Durand et Cie, 1910..
Gershwin, George. Rhapsody in Blue. London, England: Chappel and Co., Ltd.
Guevara, Amelita D and Sternberg, Kathy (co-ed). Pag-ibig Song Book. Manila: The Manila
Symphony Society, 1986.
Miller, Hugh M. Introduction to Music. New York: Barnes and Noble, Inc. 1971.
Morgan, Robert P. Twentieth-Century Music: A History of Musical Style in Modern Europe and
America. New York/London: W.W. Norton and Company, 1991.
Prokofieff, Serge. 3 Concerto pour Piano, Op. 26. New York: Boosey and Hawkes, Inc., 1947.
Randel, Don Michael (compiled). Harvard Concise Dictionary of Music. London, England:
The Belknop Press of Harvard University Press, 2000.
Rimm, Robert (introduction). Twentieth Century Piano Classics. New York: Dover
Publications, Inc., 1999.
Romualdez, Norberto (ed.). The Philippine Progressive Music Series. New York: Silver
Burnett Company, 1950.
Sadie, Stanley and Alison Lathan (eds.). The Cambridge Music Guide. New York: The Press
Syndicate of the University of Cambridge, 1985.
Salzman, Eric. Twentieth-Century Music: An Introduction. Englewood Cliffs, New Jersey:
Prentice Hall, 1967.
Siegmeister, Erie. Invitation to Music. New York: Harvey House, Inc., 1962.
Schoenberg, Harold C. The Lives of the Great Composers. New York: W.W. Norton and
Company, 1981.
Slonimsky, Nicolas. The Concise Baker’s Biographical Dictionary of Musicians. New York:
Schirmer Books, 1986.
The Best of Broadway Songs Ever. Wisconsin: Hal Leonard Corporation.
University of the Philippines College of Music Library.
Online references
www.everynote.com
www.imlsp.com
www.naxosmusiclibrary.com
www.icking-music-archive.org
www.filipinaslibrary.org.ph
180
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
ARTS BIBLIOGRAPHY
Books
Duldulao, Manuel D. Contemporary Philippine Art. Vera-Reyes, Inc. Quezon City, Philippines.
1972.
Fleming, William. Arts and Ideas. Holt, Rinehart and Winston. New York. 1980.
Gatbonton, Juan T., Jeannie E. Javelosa, Lourdes Ruth R. Roa, eds. Art Philippines.
The Crucible Workshop. Pasig City, Philippines. 1992.
Time-Life Library of Art. The World of Cezanne. Time Inc., U.S.A. 1971
Time-Life Library of Art. The World of Delacroix. Time Inc., U.S.A. 1971
Time-Life Library of Art. The World of Manet. Time Inc., U.S.A. 1972
Time-Life Library of Art. The World of Monet. Time Inc., U.S.A. 1972
Time-Life Library of Art. The World of Picasso. Time Inc., U.S.A. 1972
Time-Life Library of Art. The World of Van Gogh. Time Inc., U.S.A. 1971
Online references
Twine – http://twinery.org/
Stencyl – https://www.udemy.com/create-your-first-computer-game-with-stencyl/
GameMaker – https://www.yoyogames.com/learn
http://www.instructables.com/id/How-To-Make-A-Pinhole-Camera/
http://www.digitalcamerareview.com/default.asp?newsID=5464&news=how+to+take+great+pictu
res+with+your+point+and+shoot+camera
http://digital-photography-school.com/megapost-learning-how-to-use-your-first-dslr/
http://www.wikihow.com/Use-Your-Digital-Camera%27s-ISO-Setting
181
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.