Department of Education Region VII
SCHOOLS DIVISION OF MANDAUE CITY
Plaridel St., Centro, Mandaue City
MUSIC OF THE
20th CENTURY
for Music Grade 10
First Quarter
SELF-LEARNING KIT
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FOREWORD
The aim of this Self-Learning Kit is to enrich the knowledge of the
learners in MAPEH 10 in the first quarter under the component of
music. It will provide a better picture of the learners as to how the
music was developed through each period of time.
As we go along with the journey in learning and listening to the
music of different composers, it will brighten up the mood of the
learners when they engage in different activities.
Let us gear ourselves and get ready to take off in knowing the
music of the 20th century!
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OBJECTIVE
Learners will familiarize the music of the 20th century through performing the
different elements composed in the same period.
LEARNING COMPETENCY
1.
2.
3.
Describes distinctive musical elements of given pieces in
20th century styles.
Explains the performance practice (setting, composition,
role of composers/performers and audience) of 20th
century music.
Relates 20th Century music to other art forms and media
during the same time period.
I. WHAT HAPPENED?
Hello! Can you help me
find the words listed
below?
Simply encircle it; they
can go up and down.
Have fun!
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PRE-TEST
FIND-A-MUSIC-WORD
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1.1. AVANTGARDE
2. BARTOK 11. JAZZ
3. CAGE
12. MINIMALISM
4. CHANCE 13. PRIMITIVISM
5. DEBUSSY 14. PROKOFIEFF
6. ELECTRONIC
15. RAVEL
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9. GLASS
10. IMPRESSIONISM
7. EXPRESSIONISM 16. SCHOENBERG
8. GERSHWIN
17. SERIALISM
18. STOCKHAUSE
19. STRAVINSKY
20. VARESE
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II. WHAT TO LEARN?
The early twentieth century musical style and elements was a time of revolt and change.
Every single music composition expresses a unique system of pitch relationships, rather than be
organized around a conventional tone.
The exceptional musical features of the 20th century were influenced by the genius
composers such as Claude Debussy, Maurice Ravel, Arnold Schoenberg, Bela Bartok, Igor
Stravinsky, Sergei Prokofieff, and George Gershwin.
PLEASE LISTEN TO THE 2OTH CENTURY
MUSIC
TO-DO: SEARCH ON THE
INTERNET A SAMPLE MUSIC OF
EACH COMPOSER
Write down your answer on the table below:
Composer
Debussy
Ravel
Schoenberg
Stravinsky
Bartok
Prokofieff
Poulenc
Gershwin
Glass
Musical Work
Bernstein
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Music Elements and Composers of the 20th
Century
1. Impressionism
•
Impressionism made use of the whole-tone scale. It also applied suggested, rather than
depicted, reality. It created a mood rather than a definite picture. It had a translucent and
hazy texture; lacking a dominant-tonic relationship. It made use of overlapping chords,
with 4th, 5th, octaves, and 9th intervals, resulting in a non-traditional harmonic order
and resolution.
•
Foremost proponents
Maurice Ravel
of impressionistic movement in music are Claude Debussy and
Image: wwwen.uni.lu
Image:
wrti.org
CLAUDE DEBUSSY
Work: CLAIRE DE LUNE
(MOONLIGHT)
MAURICE RAVEL
Work:BOLERO
Transcriptions for Two Pianos
2. Expressionism and Primitivism
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Expressionism revealed the composer’s mind, instead of presenting an impression of the
environment. It used atonality and the twelve-tone scale, lacking stable and conventional
harmonies.
In Vienna, Arnold Schoenberg developed atonality, out of the expressionism that arose in the
early part of the 20th century. He later developed the twelve-tone technique which was developed
further by his disciples Alban Berg and Anton Webern. Stravinsky (in his last works) explored twelvetone technique, too, as did many other composers.
7
•
Twelve-tone technique orders the twelve notes of the chromatic scale, forming a row or series
and providing a unifying basis for a composition's melody, harmony, structural progressions,
and variations.
Arnold Schoenberg is credited with the establishment of the twelve-tone system.
Image: 8notes.com
ARNOLD SCHOENBERG
Work: THREE PIANO PIECES, OP. 11, NO. 1
•
Work: RUSSIAN DANCE FROM “PETROUCHKA”
Primitivistic music is tonal through the asserting of one note as more important than the
others. New sounds are synthesized from old ones by juxtaposing two simple events to create
a more complex new event. It eventually evolved into Neo-classicism.
3. Neo-Classicism
• Neo-Classicism was a moderating factor between the emotional excesses of the Romantic
period and the violent impulses of the soul in expressionism. In essence, it was a partial return
to a classical form of writing music with carefully modulated dissonances. It made use of a
freer seven-note diatonic scale. Examples of neo-classicism are Bela Bartok’s Song of the
Bagpipe and Piano Sonata. Sergei Prokofieff.
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BELA BARTOK
SERGEI PROKOFIEFF
FRANCIS POULENC
Work:DUET FOR PIPES
Work: CONCERTO IN C MAJOR,
OP. 26, NO. 3
Work: PERPETUAL MOTION, NO. 1
OP. 26, NO. 3
4. Avant Garde Music
• The avant garde style was associated with electronic music and dealt with the parameters
or dimensions of sound in space. It made use of variations of selfcontained note
groups to change musical continuity, and improvisation, with an absence of traditional
rules on harmony, melody, and rhythm.
Image: youtube.com
GEORGE GERSHWIN
Work: SUMMERTIME
From “West Side Story”
5. Modern nationalism
• Modern nationalism is a looser form of 20th century music development focused on nationalist
composers and musical innovators who sought to combine modern techniques with folk
materials.
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20TH CENTURY MUSICAL STYLES:
ELECTRONIC and CHANCE MUSIC
The musical styles that evolved in the modern era were short-lived, being experimental and
too radical in nature, while others found an active blend between the old and the new.
1. Electronic Music
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The capacity of electronic machines such as synthesizers, amplifiers, tape recorders, and
loudspeakers to create different sounds was given importance by 20th century.
From France, Edgard Varese’s use of new instruments and electronic resources led to his
being known as the “Father of Electronic Music” and a description of him as “The
Stratospheric Colossus of Sound.”
From Germany, there was Karlheinz Stockhausen, who further experimented with electronic
music and musique concrete.
Music that uses the tape recorder is called musique concrete, or concrete music.
Image: http://hyperprism-sounds.blogspot.com
Image: vistapointe.net
EDGARD VARESE
KARLHEINZ STOCKHAUSEN
Work: POÈME ÉLECTRONIQUE
Work: STUDY II
2. Chance Music
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The composition or method of performance
is determined by elements of chance or
unpredictability.
From the United States, there was John Cage
who experimented with what came to be known
as “chance music.”
Image: luther.edu
JOHN CAGE
Work: CONCERT FOR PIANO AND
ORCHESTRA, 1958
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III. WHAT HAVE YOU LEARNED?
It is time to see how far you have learned in this lesson. Let us check by answering the questions
below:
POST TEST
Multiple Choice: Underscore the correct answer. 20 points
1. In music, the early twentieth century was a time of
A) the continuation of old forms
B) stagnation
C) revolt and change
D) disinterest
2. The most important impressionist composer was
A) Bela Bartok
B) Claude Debussy
C) Richard Wagner
D) Arnold Schoenberg
3. Who moved back to Vienna in 1917 and went through "years of silence" while he worked
on the development of the twelve tone system?
A) Stockhausen
B) Cage
C) Schoenberg
D) Bartok
4. Using all twelve tones in the same order over and over again is known as A)
12-tone system
B) polytonality
C) atonality
D) bitonality
5. What time period was the 20th-century in?
A) The 1900's
B) The 1800's
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C) The 2000's
D) The 1700's
6. Why was 20th century music different from other eras?
A) There were many different types of musical styles
B) There was an increase in instruments
C) There was only one correct style
D) There were more composers
7. Which music style has not been developed in the 20th centry?
A) Impressionism
B) Musique Concrete
C) Romanticism
D) Serialism
8. Philip Glass is a(n) ... A) Impressionist.
B) Minimalist.
C) Expressionist.
D) Primitivist.
9. The first significant atonal pieces were composed around 1908 by
A) Claude Debussy
B) Arnold Schoenberg
C) Igor Stravinsky
D) Aaron Copland
10. Chance music was pioneered by
A) Milton Babbitt
B) Claude Debussy
C) John Cage
D) Igor Stravinsky
11. In chance, or aleatory music the composer
A) writes the music in a traditional manner, but allows the recording engineer to make
electronic changes
B) writes a rhythmic pattern but leaves it to the performer to determine the actual pitches
C) takes a chance on which performers will perform the work
D) chooses pitches, tone colors, and rhythms by random methods
12. The absence of key or tonality in a musical composition is known as A)
polytonality
B) ostinato
C) a tone cluster
D) atonality
13. Twentieth-century composers incorporated elements of folk and popular music within
their personal styles because
A) it made it more fun to perform
B) it simplified technical problems of musical composition
C) it made their music more commercially viable
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D) they were attracted to the unconventional rhythms, sounds, and melodic patterns
14. Who is the Father of Electronic Music?
A) Edgard Varese
B) Arnold Schoenberg
C) Igor Stravinsky
D) Claude Debussy
15. Neoclassical compositions are characterized by
A) harsh dissonances
B) forms and stylistic features of earlier periods
C) the use of the twelve-tone system
D) whole-tone scales
16. Which statement about chance music is not true?
A) Chance music aimed to remove all creative choice from the composers, leaving it all up
to chance.
B) Chance music often relied on coin flips or dice rolls to determine how something is
performed.
C) Chance music is a form of serialism where the composer controls every aspect of the
music.
D) Chance music is now viewed as a passing fad of the mid-20th century.
17. Expressionism stressed A) intense subjective emotion
B) surface beauty
C) reticence
D) subtle feeling
18. Which of the following is not characteristic of neoclassicism?
A) balance
B) emotional restraint
C) clarity
D) misty atmosphere
19. The use of two or more keys at one time is known as
A) atonality
B) polytonality
C) a tone cluster
D) the twelve-tone system
20. A 20th century style that combined elements of Classical and Baroque music with
modernist trends- Bela Bartok A) Impressionism
B) Neo-classicism
C) Impressionism
D) Serialism
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SCHOOLS DIVISION OF MANDAUE CITY
NIMFA D. BONGO, Ed.D., CESO V
Schools Division Superintendent
ESTELA B. SUSVILLA, Ph.D., CESO VI
Assitant Schools Division Superintendent
JAIME P. RUELAN, Ph.D.
Chief, Curriculum Implementation Division
ISMAELITA N. DESABILLE, Ed.D.
Education Program Supervisor (LRMDS)
MR. NIÑO G. MATILLANO
Education Program Supervisor, MAPEH
MARLIZA L. ZANORIA
Writer
VENJIE R. CAUBA
Co-Writer
JONABEL A. PACTO
Lay-out Artist/Illustrator
MALBERT P. BUCOG
Lay-out Artist/Illustrator
DEPARTMENT OF EDUCATION
REGIONAL OFFICE VII
SALUSTIANO T. JIMENEZ, ED.D, JD, CESO V
OIC, Regional Director CRISTITO
A. ECO
OIC, Assistant Regional Director
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MAURITA F. PONCE
LRMDS, Education Program Supervisor
DR. JUVELYN P. OTERO
MAPEH, Education Program Supervisor
SYNOPSIS
This self-learning kit showcase the music of the 20th century and how
progressed into over the period of time. It provides us a vivid picture
of who were the composers and the type of music they perform
which is a big contributor to our music today.
ABOUT THE WRITER..
The writer of this Self-learning kit is Mrs. Kenlie
Grace B. Felices, a secondary teacher of Don Gerardo LL
Ouano Memorial National High School. She is a graduate
of Bachelor of Arts in Economics and pursue in Diploma in
Professional Education to develop herself into a teacher.
ANSWER KEY:
Pre-test
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Post Test
1. C
2. B
3. C
4. A 5. A
6. A
7. C
8. B
9. B
10.C
11.D 12. D
13.D
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15.B 16. C
17. A
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S N
20. B
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